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Glenn ligon a feast of scraps 1994 1998
Glenn Ligon, A Feast of Scraps, 1994-1998


We are taught that, if we feel we really must have a record of the shameful same-sex portions of our lives, then we should do so by having two albums, dual collections, one for blood relations and one for our same gender loving brothers and sisters. And they should not be allowed to intersect. Our orientation is meant to be isolated, separate from and alien to the lives we live with our ‘real’ families. Far too often, however, within this constellation of the ‘real,’ black gays and lesbians wonder if we will even be in the viewfinder when the family portrait is taken.

glennligon


Claude of the shameful same-sex portions of our lives, then we should do so by having two albums, dual collections, one for blood relations and one for our same gender loving brothers and sisters. And they should not be allowed to intersect. Our orientation is meant to be isolated, separate from and alien to the lives we live with our ‘real’ families. Far too often, however, within this constellation of the ‘real,’ black gays and lesbians wonder if we will even be in the viewfinder when the family portrait is taken.Cahun & Marcel Moore, Untitled (Cahun in Mirror), ca. 1929 (detail) Claude Cahun & Marcel Moore, Untitled (Moore in Mirror), ca. 1929


The photographer’s shadow that regularly intrudes on the space of the photograph, the double exposures and mirror imaging, may be viewed as both uncanny and as intimations of an unseen collaboration, the “other me.”

tirza true latimer


Our two heads (hair intermingling inextricably) inclined over a photograph. Portrait of one or of the other, our two narcissisms drowning together here, it was the impossible realized in a magic mirror. Exchange, superimposition, the fusion of desires. The unity of the image achieved through the close intimacy of two bodies.

claudecahun


Claude cahun marcel moore i m in training don t kiss me ca 1928
Claude over a photograph. Portrait of one or of the other, our two narcissisms drowning together here, it was the impossible realized in a magic mirror. Exchange, superimposition, the fusion of desires. The unity of the image achieved through the close intimacy of two bodies.Cahun & Marcel Moore, I’m in Training, Don’t Kiss Me, ca. 1928


Claude cahun marcel moore self portrait with mask ca 1928
Claude over a photograph. Portrait of one or of the other, our two narcissisms drowning together here, it was the impossible realized in a magic mirror. Exchange, superimposition, the fusion of desires. The unity of the image achieved through the close intimacy of two bodies.Cahun & Marcel Moore, Self-Portrait with Mask, ca. 1928


Aubrey beardsley the peacock skirt 1894 oscar wilde and alfred douglas ca 1893
Aubrey Beardsley, over a photograph. Portrait of one or of the other, our two narcissisms drowning together here, it was the impossible realized in a magic mirror. Exchange, superimposition, the fusion of desires. The unity of the image achieved through the close intimacy of two bodies.The Peacock Skirt, 1894Oscar Wilde and Alfred Douglas, ca. 1893


Claude cahun marcel moore la r ponse vues et visions 1919
Claude over a photograph. Portrait of one or of the other, our two narcissisms drowning together here, it was the impossible realized in a magic mirror. Exchange, superimposition, the fusion of desires. The unity of the image achieved through the close intimacy of two bodies.Cahun & Marcel Moore, “La réponse,” Vues et visions, 1919


Kirsten mccrea gertrude stein from hot topic 2006 ongoing pablo picasso gertrude stein 1905 1906
Kirsten McCrea, over a photograph. Portrait of one or of the other, our two narcissisms drowning together here, it was the impossible realized in a magic mirror. Exchange, superimposition, the fusion of desires. The unity of the image achieved through the close intimacy of two bodies.Gertrude Stein, from Hot Topic, 2006 – ongoingPablo Picasso, Gertrude Stein, 1905-1906



Alice pike barney natalie in fur cape 1897 romaine brooks natalie barney 1920
Alice Pike Barney, 27 rue de Natalie in Fur Cape, 1897Romaine Brooks, Natalie Barney, 1920


Portrait of natalie clifford barney and romaine brooks romaine brooks self portrait 1923
Portrait of Natalie Clifford Barney and Romaine Brooks 27 rue de Romaine Brooks, Self Portrait, 1923


A place where lesbian assignations 27 rue de and appointments with academics could coexist in a kind of cheerful, cross-pollinating cognitive dissonance.

joanschenkar


Portrait of vanessa bell vanessa bell self portrait ca 1915
Portrait of Vanessa Bell 27 rue de Vanessa Bell, Self-portrait, ca. 1915


Vanessa bell virginia woolf knitting ca 1911 portrait of clive bell by roger fry ca 1924
Vanessa Bell, 27 rue de Virginia Woolf Knitting, ca. 1911Portrait of Clive Bell by Roger Fry, ca. 1924


Portrait of roger fry by vanessa bell 1912 portrait of vanessa bell by roger fry date unknown
Portrait of Roger Fry by Vanessa Bell, 1912 27 rue de Portrait of Vanessa Bell by Roger Fry (date unknown)


Portrait of vanessa bell by duncan grant 1917 portrait of duncan grant by vanessa bell 1920
Portrait of Vanessa Bell by Duncan Grant, 1917 27 rue de Portrait of Duncan Grant by Vanessa Bell, 1920


Portrait of duncan grant by david garnett 1915 portrait of david garnett by duncan grant 1930
Portrait of Duncan Grant by David Garnett, 1915 27 rue de Portrait of David Garnett by Duncan Grant, 1930


Jacob Lawrence, 27 rue de The Migration Series, Panel No. 1: During World War I there was a great migration north by southern African Americans, 1940-1941


The cotton club the savoy club
The Cotton Club 27 rue de The Savoy Club


At the beginning of the twentieth century, a homosexual subculture, uniquely Afro-American in substance, began to take shape in New York’s Harlem. Throughout the so-called Harlem Renaissance period, roughly 1920 to 1935, black lesbians and gay men were meeting each other [on] street corners, socializing in cabarets and rent parties, and worshiping in church on Sundays, creating a language, a social structure, and a complex network of institutions.

ericgarber


Gladys bentley 1907 1960
Gladys Bentley (1907-1960) subculture, uniquely Afro-American in substance, began to take shape in New York’s Harlem. Throughout the so-called Harlem Renaissance period, roughly 1920 to 1935, black lesbians and gay men were meeting each other [on] street corners, socializing in cabarets and rent parties, and worshiping in church on Sundays, creating a language, a social structure, and a complex network of institutions.


Langston hughes 1902 1967
Langston Hughes (1902-1967) subculture, uniquely Afro-American in substance, began to take shape in New York’s Harlem. Throughout the so-called Harlem Renaissance period, roughly 1920 to 1935, black lesbians and gay men were meeting each other [on] street corners, socializing in cabarets and rent parties, and worshiping in church on Sundays, creating a language, a social structure, and a complex network of institutions.


Stills from looking for langston 1989 directed by isaac julien
Stills from subculture, uniquely Afro-American in substance, began to take shape in New York’s Harlem. Throughout the so-called Harlem Renaissance period, roughly 1920 to 1935, black lesbians and gay men were meeting each other [on] street corners, socializing in cabarets and rent parties, and worshiping in church on Sundays, creating a language, a social structure, and a complex network of institutions.Looking for Langston, 1989 Directed by Isaac Julien


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