Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints. Though simple, each contains a nested stack of historical and self-referential quotations. Both black-and-white prints depict a version of Ligon’s 1988 painting, Untitled (I Am A Man) , which declares the words of the parenthetical in blocky black letters. Ligon’s painting, of course, is itself a reappropriation and, in some ways, a reproduction. Based on the simple, declarative protest signs carried by sanitation workers in Memphis, Tennessee during the height of the Civil Rights Movement, Ligon’s painting recontextualized this now-iconic object as a work of art. While the print on the left of Condition Report directly mirrors Ligon’s 1988 painting, the print on the right of the pair includes marks, scribbles, and hand-written notations around the edges and borders of the image. These additions to the work are the condition report notes of the title, and refer back to the 1988 original—though this time not as it existed as a symbol of a historical event, but as it exists in the present as a rarified art object. Tracing a simple phrase—I AM A MAN—through these iterations as declaration, symbol, object, and surface, Ligon levies questions of representation and race, commodification and history, and the value and preciousness of one’s identity.
American artist Glenn Ligon is well known for his conceptually based works in paint, neon, photography, sculpture, and video. He draws upon American history, literature, and other sources to create works centered on the black American experience. Ligon filters through cultural sources to create compositions that highlight social inequalities, commemorate struggles, and point fingers at hypocrisy. Rendered in neon, through paint, and in other media, Ligon often draws out the words of others—be they the sanitation workers who protested in Memphis, Tennessee, with signs declaring I AM A MAN; or the controversial and confrontational Richard Pryor, whose jokes become electric letters on Ligon’s canvases.
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...