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. — Glenn Ligon Copy Share Image
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. — Glenn Ligon Copy Share Image
Throughout African-American literature, the writer has, in a sense, been burdened by the necessity of pleading the case for the whole race. For example,… — Glenn Ligon Copy Share Image
Race is not something inherent to one's being: One does feel more or less colored, depending on the situation. — Glenn Ligon Copy Share Image
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… — Glenn Ligon Copy Share Image
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… — Glenn Ligon Copy Share Image
It's a great idea: to feel the rhythm of something by seeing how it flows on a page. — Glenn Ligon Copy Share Image
In writing, something is always left out: it can't be articulated in the space of an essay. — Glenn Ligon Copy Share Image
Willem de Kooning paintings are a language to be learned. When they were first shown, they were ridiculed as being just drips and splatters… — Glenn Ligon Copy Share Image
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… — Glenn Ligon Copy Share Image
