Glenn Ligon, Self-Portrait, 1996. This screen print definitely has to be seen in person to be appreciated. It’s heavily pixelated and provides a similar experience to viewing Chuck Close’s work. At a distance, the image looks perfect, yet as you get closer the process and its flaws become more apparent. (Courtesy the Whitney Museum).
A recent visit to the Whitney Museum of American Art earlier this month for the opening of the Glenn Ligon show turned up a large selection of works for my series on the Figure in Contemporary Art (check out parts One, Two, and Three). While I was there, I also saw Legacy: The Emily Fisher Landau Collection, housed in the Emily Fisher Landau galleries. While trying to soak in the art, I kept finding myself listening to old rich patrons talk about pieces they would buy. Thankfully, amid the market talk, I did manage to find exactly what this series needed: quality art examining the figure in many different manners, from many different voices. As I wrapped up my viewing experience at the museum, the upper-crust were downstairs trying to get down to Justin Timberlake’s Sexy Back. I knew then that it was time to get back to Brooklyn.