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is just such a representation—a signifier—of the actual signs carried by 1,300 striking African American sanitation workers in Memphis, made famous in Ernest Withers' 1968 photographs.
Prompted by the wrongful deaths of two coworkers from faulty equipment, the strikers marched to protest low wages and unsafe working conditions.
, 1969 For more than 40 years, the distinguished photographer Robert Adams has recorded the changing American landscape, revealing both its sublime beauty and its wanton destruction.
And while he preserved the original black-on-white of the sign, his choice to paint the black letters in eye-catching enamel calls attention to a black figure ("Man") as a text that replaces the human form in figurative painting.
Throughout his career, Ligon has used "blackness" as a trope for both personal and collective experience.
, 1988 Glenn Ligon was born in the Bronx in 1960, attended the Walden School in New York on a scholarship, and graduated from Wesleyan University in 1982.
Ligon is best known for intertextual works that -present American history and literature, in particular narratives of slavery and civil rights, for contemporary audiences.His work engages a powerful mix of racial and gender-oriented struggles for the self, leading viewers to reconsider problems inherent in representation.As the first object in which he used a selected text, is his breakthrough.He took pains to differentiate the painting from the original signs, avoiding a one-to-one relationship by reorganizing the line breaks.
They took up the slogan "I Am a Man" as a variant on the first line of Ralph Ellison's prologue to Invisible Man, "I am an invisible man." By deleting the word "invisible," the Memphis strikers asserted their presence, making themselves visible in standing up for their rights. traveled to Memphis to address the striking workers; the next day, he was assassinated.
This painting is Ligon's most important and iconic work.