Visual Language Magazine Contemporary Fine Art March 2013 Vol 2 No 3
Visual Language Magazine is a contemporary fine art magazine with pages filled with dynamic fine art, brilliant color and stimulating composition. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language crosses all cultures around the world.
Visual Language Magazine is a contemporary fine art magazine with pages filled with dynamic fine art, brilliant color and stimulating composition. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language crosses all cultures around the world.
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Glen Ligon<br />
Using Icon’s in artwork is a deception that has immediate implications. The work no<br />
longer belongs to the artist; it now has to contend with the reputation of that Icon.<br />
This is discernible in his Richard Pryor text pieces. For those who don’t realize Richard<br />
Pryor’s work the pieces are just troubling transcripts that are hard to read. But if<br />
you are conscious of Richard Pryor, doesn’t it just summon one of Mr. Pryor’s comedy<br />
shows again Richard Pryor’s Icon dwarf ’s the artist’s message. The best this work can<br />
accomplish is denoting the original source material. Should these instructions be the<br />
occupation of art At best this is only appropriation.<br />
though-few-works-remain-dark<br />
e/culhring-auark<br />
What is the point of Ligon’s work then Is it to put up arbitrary quotes to examine<br />
your intellect What crafts this effort as distinctive from those people on Facebook<br />
with their mundane daily affirmation Ligon’s handling of these quotations is “irresponsible”<br />
name-dropping that amounts to proselytization. It is not deconstructed,<br />
or intertextual. It is derivative. The possibility of deconstruction originates when the<br />
viewer does not identify the quote/text. When the observer assumes and generates<br />
meaning for him/herself.<br />
Conceptual<br />
Even though, Ligon never spoke of being a conceptual artist in his conversation at<br />
the High, He is regarded as one by many. In one of his latest pieces, “One black day”,<br />
Ligon uses his black neon in a text form that reads <strong>No</strong>v 6, 2012.<br />
“Depends on who you’re voting for and who wins,” Ligon said evenly. “It’s a ‘black<br />
day’ either way. You just have to think about it.” Ligon giggled. “It’s just a different<br />
black.”<br />
http://www.capitalnewyork.com/article/culture/2012/10/6538741/glenn-ligon-lights-luhring-augustine-<br />
Yes the work is charged by its racial implications to this post-racial American farce,<br />
but is this conceptual art or the direct meaning illustrated It is definitely postmodern<br />
by poking fun and being irreverent, more appropriately POP “all the same it’s easy<br />
stuff ”.<br />
by Christopher Hutchinson January 17, <strong>2013</strong><br />
http://blackflight144.com/blog-2/<br />
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