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Glenn Ligon Biography Glenn Ligon Biography Born in 1960 in New York. Lives and works in New York, USA. EDUCATION 1985 Whitney Museum Independent Study Program, New York, NY, USA 1982 Wesleyan University, Middletown, CT, USA AWARDS 2021 American Academy of Arts and Letters Member 2019 American Academy in Rome, Rome, Italy 2018 Honorary Degree, The New School, New York, NY, U.S.A. 2012 International Association of Art Critics Award 2009 Studio Museum's Joyce Alexander Wein Artist Prize, New York, NY, U.S.A. 2006 Skowhegan Medal for Painting, New York, NY, U.S.A. 2003 John Simon Guggenheim Memorial Foundation Fellowship, New York, NY, U.S.A. 10 RUE CHARLOT, 75003 PARIS +33 1 42 77 38 87 | CROUSEL.COM [email protected] 1997 Joan Mitchell Foundation Grant 1991 National Endowment for the Arts, Visual Artist Fellowship, Painting 1989 National Endowment for the Arts, Visual Artist Fellowship, Drawing 明 朝 "; mso-font-charset:128; mso-generic-font-family:modern; mso-font-pitch:fixed; mso-font-signature:-536870145 1791491579 134217746 0 131231 0;} @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-536870145 1073743103 0 0 415 0;} @font-face {font-family:"\@MS Mincho"; panose-1:2 2 6 9 4 2 5 8 3 4; mso-font-charset:128; mso-generic-font-family:modern; mso-font-pitch:fixed; mso-font-signature:-536870145 1791491579 134217746 0 131231 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Cambria",serif; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS Mincho"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:EN-US; mso-fareast-language:EN-US;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:"Cambria",serif; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS Mincho"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:EN-US; mso-fareast-language:EN-US;} @page WordSection1 {size:612.0pt 792.0pt; margin:70.85pt 70.85pt 70.85pt 70.85pt; mso-header-margin:36.0pt; mso-footer-margin:36.0pt; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} --> SOLO EXHIBITIONS (SELECTION) 2022 Carré d'Art de Nîmes, Nîmes, France. 2021 Hauser & Wirth, New York, NY, U.S.A.. Hauser & Wirth, Zurich, Switzerland. 2019 In A Year With a Black Moon, Rat Hole Gallery, Tokyo, Japan. To be a Negro in this country is really never to be looked at, Maria & Alberto De La Cruz Art Gallery, Georgetown University, Washington DC, U.S.A. Des Parisiens noirs, installation part of the exhibition Le Modèle noir de Géricault à Matisse, Musée d'Orsay, 10 RUE CHARLOT, 75003 PARIS +33 1 42 77 38 87 | CROUSEL.COM [email protected] Paris, France. Glenn Ligon: Untitled (America)/Debris Field/Synecdoche/Notes for a Poem on the Third World, Regen Projects, CA, USA. Glenn Ligon: Selections from the Marciano Collection, Marciano Foundation, Los Angeles, USA. 2018 Tutto poteva, nella poesia, avere una soluzione. / ln poetry, a solution to everything., Thomas Dane, Naples, Italy. 2017 Glenn Ligon, Baltimore Museum of Art, MD, U.S.A. 2016 We need to wake up cause that's what time it is, Luhring Augustine Bushwick, NY, U.S.A. What we said the last time, Luhring Augustine, New York, NY, U.S.A. 2015 Well, it's bye-bye / If you call that gone, Regen Projects, Los Angeles, CA, U.S.A. 2014 Glenn Ligon: Call and Response, Camden Arts Centre, London, U.K. Glenn Ligon: Come Out, Thomas Dane Gallery, London, U.K. 2013 Glenn Ligon, Rat Hole Gallery, Tokyo, Japan. 2012 Glenn Ligon: Neon, Luhring Augustine, New York, NY, U.S.A. 2011 Glenn Ligon: AMERICA, Whitney Museum of American Art, New York, NY (catalogue); traveled to Los Angeles County Museum of Art, CA; Modern Art Museum of Fort Worth, TX, U.S.A. 2010 Neither Here nor There, Michael Stevenson Gallery, Cape Town, South Africa. 2009 ‘Nobody’ and Other Songs, Thomas Dane Gallery, London, U.K. Off Book, Regen Projects II, Los Angeles, CA, U.S.A. 2008 Figure/Paysage/Marine, Galerie Yvon Lambert, Paris, France. Love and Theft, Power House, Memphis, TN, U.S.A. 2007 No Room (Gold), Regen Projects II, Los Angeles, CA, U.S.A. 2006 Brilliant Corners, Thomas Dane Gallery, London, U.K. We Had Everything Before Us–We Had Nothing Before Us, Galerie Yvon Lambert, Paris, France. 2005 Drawings, Baldwin Gallery, Aspen, CO, U.S.A. Glenn Ligon – Some Changes, The Power Plant Center for Contemporary Art, Toronto, Ontario, Canada; traveled to Contemporary Art Museum, Houston, TX, U.S.A.; The Andy Warhol Museum, Pittsburgh, 10 RUE CHARLOT, 75003 PARIS +33 1 42 77 38 87 | CROUSEL.COM [email protected] PA, U.S.A.; Wexner Center for the Arts, Columbus, OH, U.S.A.; Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, Canada; Mudam—Musée d’Art Moderne Grand-Duc Jean, Luxembourg. 2004 Text Paintings: 1990–2004, Regen Projects, Los Angeles, CA, U.S.A. 2003 Annotations (web-based project), Dia Center for the Arts, New York, NY, U.S.A. Going There, D’Amelio Terras, New York, NY, U.S.A. 2002 Glenn Ligon, Anthony Meier Fine Arts, San Francisco, CA, U.S.A. 2001 Colored, D’Amelio Terras, New York, NY, U.S.A. Portraits and Not Portraits, Kunstverein München, Germany. Stranger, The Studio Museum in Harlem, NY, U.S.A. 2000 Coloring: New Work by Glenn Ligon, Walker Art Center, Minneapolis, MN, U.S.A. Currents 81: Glenn Ligon, Saint Louis Art Museum, MO, U.S.A. 1998 Nothing Under the Sun, Max Protetch Gallery, New York, NY, U.S.A. Unbecoming, Institute of Contemporary Art at University of Pennsylvania, Philadelphia, U.S.A. 1997 Glenn Ligon: Day of Absence, Ezra and Cecile Zilkha Gallery, Center for Arts, Wesleyan University, Middletown, CT, U.S.A. 1996 The Evidence of Things Not Seen: Drawings by Glenn Ligon, Brooklyn Museum, NY, U.S.A. New Work, San Francisco Museum of Modern Art, CA, U.S.A. 1995 Glenn Ligon, Des Moines Art Center, IA, U.S.A. Photos and Notes, Max Protetch Gallery, New York, NY, U.S.A. 1993 To Disembark, Hirshhorn Museum and Sculpture Garden, Washington, DC, U.S.A.; traveled to Williams College Museum of Art, Williamstown, MA, U.S.A.; Edward M. Smith Gallery, Davidson College Visual Arts Center, NC, U.S.A.; Spencer Museum of Art, University of Kansas, Lawrence, U.S.A.; Detroit Institute of the Arts, MI, U.S.A. White, Max Protetch Gallery, New York, NY, U.S.A. 1992 Glenn Ligon/MATRIX 120, Wadsworth Atheneum, Hartford, CT, U.S.A. Good Mirrors Are Not Cheap, Whitney Museum of American Art at Philip Morris, New York, NY (brochure); traveled to the Museum of Fine Arts, Boston, MA, U.S.A. Paintings, Max Protetch Gallery, New York, NY, U.S.A. 1991 Project Room: Glenn Ligon, Jack Tilton Gallery, New York, NY, U.S.A. 10 RUE CHARLOT, 75003 PARIS +33 1 42 77 38 87 | CROUSEL.COM [email protected] GROUP EXHIBITIONS (SELECTION) 2021 In Focus: Protest, Getty Museum, Los Angeles, CA., U.S.A.. Sponsored by NEON, Athens, Greece. Yesterday we said tomorrow, Prospect. 5, New Orleans, LA., U.S.A.. 2020 00s. Cranford Collection: the 2000s, MO.CO. Hôtel des collections, Montpellier, France. Come Out!, Kistefos Museet, Jevnaker, Norway. Democracies, Tate Liverpool, U.K.. Titan, Public Project Sponsored by Kurimanzutto gallery, New York, NY., U.S.A.. Duro Olowu: Seeing Chicago, Museum of Contemporary Art, Chicago, IL., U.S.A.. Psychic Wounds: On Art & Trauma, The Warehouse, Dallas, TX., U.S.A.. We Will Walk: Art and Resistance in the American South, Turner Contemporary, Kent, United Kingdom. 2019 Animal Revolution: 200 Years of Bremen Town Musicians in Art, Kitsch and Society, Kunsthalle Bremen, Bremen, Germany. Beauty and Bite, Tang Teaching Museum, Saratoga Springs, NY, U.S.A.. Black Refractions: Highlights from The Studio Museum in Harlem, Studio Museum, Harlem, NY, U.S.A..Traveling to Museum of the African Diaspora, San Francisco; Gibbes Museum of Art, Charleston; Kalamazoo Institute of Arts; Smith College Museum of Art, Northampton; Frye Art Museum, Seattle; Utah Museum of Fine Arts, Salt Lake City. Crossroads: Carnegie Museum of Art’s Collection, 1945 to Now, Carnegie Museum of Art, U.S.A.. Direct Message: Art, Language, and Power. Museum of Contemporary Art Chicago, Chicago, IL. Five Ways In: Themes from the Collection, Walker Art Center, Minneapolis, MN, U.S.A.. From Theory to Practice: Artistic Legacies of the Whitney Independent Study Program, University Hall Gallery at the University of Massachusetts Boston, MA, U.S.A.. The Foundation Museum: MOCA’s Collection, Museum of Contemporary Art, Los Angeles, Los Angeles, CA, U.S.A.. Get Up, Stand Up! Somerset House, London, U.K.
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  • New Work: Glenn Ligon
    - 1 glenn ligon: new work SAN FRANCISCO MUSEUM OF MODERN ART Glenn Ligon: New Work is a thought-proYoking, three part rumination on self-por­ traiture and the individual in relationship to collective hi,tories and notions of group identity. The first gallery of the show features four large, silkscreened paint­ ings based on news photos documenting the 1995 Million Man March. The next gallery contains a number of self-portraits of the artist himself, also silkscreened onto canvas, constituting a complement and counterpart to the images of the march. The final component is a collection of news clippings, test photos, journal notes, and other documents Ligon accumulated while creating the exhibition as a whole. This material will be archived permanently at the Gay and Lesbian Historical Society of Northern California and is on view there in conjunction with the show. Iigon considers these three components of the exhibition to be distinct and separate bodies of work, ret they arc also clearly related. Each element is a way of reflecting, both conceptually and visually, on ways that images of the self and the group are con structed and deployed, and to what ends. 'J he two bodies of imagery on view at SFMOMA stand in sharp contrast to one another: on one side, immense pictures of the Million Man March, showing African-American men joined together in an impressive show of unity and strength; on the other, a clinically spare series of unemotional head-shots of an individual man. The paintings derived from news photographs feature a largely undifferentiat­ ed sea of humanity and suggest themes long associated with photographs of demon­ strations: political struggle, adivbm, and protest.
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