A lot of my work is about text taken to the point of abstraction. by Glenn Ligon

A lot of my work is about text taken to the point of abstraction.

Glenn Ligon

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There's a kind of slowness and inefficiency about rendering text in paint. We're in a world that's very fast, so things that slow you for a minute-give you pause-are good.

kind giving world

My job is not to produce answers. My job is to produce good quest... by Glenn Ligon

My job is not to produce answers. My job is to produce good questions.

good-questions jobs art

Paint is a very sensual material. It's lovely to work with and lo... by Glenn Ligon

Paint is a very sensual material. It's lovely to work with and lovely to look at.

lovely sensual looks

Like any artwork, things become richer if you know more about them; but I don't think that's crucial.

artwork knows thinking

One can take a neon tube and simply paint it black on the front. So it would read as a black letter or a line, but it would also read as neon because there would be light coming from behind that black letter.

black light would-be

A key text for me is James Baldwin's essays. And, in particular, his essay Stranger in the Village. It's a text that I've used in a lot of paintings. The essay is from the mid-'50s, when he's moved to Switzerland to work on a novel, and he finds himself the only black man living in a tiny Swiss village. He even says, "They don't believe I'm American - black people come from Africa." The essay is not only about race relations, but about what it means to be a stranger anywhere.

men mean believe

I graduated from Wesleyan University with a b.a. in art. I was really headed toward an architecture degree, but when I did the requirements for the major, I realized I was more interested in how people live in buildings than in making buildings. I was more interested in the interactions that happened inside the structures. So I got an art degree as a default position.

architecture people art

I switched up so that I could work 12-hour shifts at the firm on the weekends so I could have days free to paint. But it was almost like I had a secret life, because I wasn't showing any of my work. It was just in my house. In '89, I got a grant from the National Endowment for the Arts. That's when I started to get into group shows. Suddenly I sort of "came out" as an artist.

weekend house art

I said to myself, "If the government thinks I'm an artist, I must... by Glenn Ligon

I said to myself, "If the government thinks I'm an artist, I must be one."

artist thinking

My mother really didn't come from artists. Her famous quote to me was, "The only artists I've ever heard of are dead." The pottery classes were meant to be a part of my overall uplift. I knew what it meant to be sent to art classes, but I still didn't know anything about being an artist.

uplifting mother art

At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.

canvas painting writing

At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a Willem de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas." At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas."

canvas painting guy

I think there's an interest right now in the performance aspect of artworks, instead of just hanging things on walls. We're in a moment when a lot of younger artists are looking at work from the '60s and '70s - they are looking at the pieces by Marina Abramovic or Vito Acconci. These pieces have a time element. They were performed live. To perform them again now isn't simply an homage, because it's a different audience, a different moment.

wall artist thinking

It's a great idea: to feel the rhythm of something by seeing how... by Glenn Ligon

It's a great idea: to feel the rhythm of something by seeing how it flows on a page.

great-idea rhythm

I love Thelonious Monk's song "Just a Gigolo." It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized, because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.

pop-music monk song

Jazz musicians like John Coltrane needed these very clear titles for their abstract music, and your decision to bring voices into your music as a way to tap into content. It's related to the way my text-based work still functions as abstraction for me. If I repeat a sentence down a canvas, the text starts to smudge and disappear. It essentially becomes an abstract piece. The meaning of the text is still there.

jazz musician decision

Willem de Kooning paintings are a language to be learned. When they were first shown, they were ridiculed as being just drips and splatters and splashes. You had to learn how to read them.

painting language

In government they learned their lesson. They don't trust artists anymore. Now the money has to go through arts organizations. But, yeah, back then you could get a grant, and I got $5,000 - a huge amount of money.

artist art

Is there such a thing as black art? Or are there just artists who... by Glenn Ligon

Is there such a thing as black art? Or are there just artists who are black?

just who black art

Black and white is so familiar. It's how we see the printed word in books, so it's kind of neutral in a way. Yet it's ironic that black and white is so charged socially, what with its association with race.

black-and-white black white way