The Brant Foundation’s Glenn Ligon exhibition offers a concise yet impactful overview of the artist’s work, showcasing eight pieces from the foundation’s collection. The show is thoughtfully curated, with works spread out across four stories, allowing the art to connect with viewers on a deeper level.
One of the highlights of the exhibition is Ligon’s “Rückenfigur” (2009), a white neon sign with the word “America” spelled backwards. This piece prompts viewers to reflect on the idea of a White America turning its back on others, while also exploring the complexities of language and legibility. Another notable work is “Deferred (Malcolm/Martin)” (1991), a text painting that alternates the names “Malcolm” and “Martin,” visually transforming the names into sounds and challenging viewers to decipher the text.
The exhibition also delves into the limits of language with pieces like “Stranger #64” (2012), where illegible text from James Baldwin’s essay becomes a palpable object through layers of oil stick, acrylic, and coal dust. Additionally, the inclusion of “Live” (2014), a seven-channel video installation featuring comedian Richard Pryor, adds a unique and disorienting element to the show.
For many visitors, “Live” is the most compelling work in the exhibition, as it presents Pryor’s performance without sound, inviting viewers to engage with the fragmented and often poignant expressions of the comedian. This piece challenges viewers to consider the fragmentation and fetishization of the body that people of color often experience.
Overall, the Glenn Ligon exhibition at the Brant Foundation is a must-see for art enthusiasts and offers a thought-provoking exploration of race, language, and communication. The show runs until July 19 and is a testament to Ligon’s mastery in using art as a tool for social commentary and reflection. Visit the Brant Foundation’s website for more information on tickets and exhibition details.
