Glenn Ligon at Thomas Dane

(link)

or that painting something white would restore it, return its virginal character, but talking of blackness as an accumulatory inescapable, occluding, the eclipse on legibility and meaning, but then in there, on it, the occlusion itself, blackness. I guess you could make the arguement that Ligon isn't once again destroying' the legibility of Baldwin's text but restoring it, bringing it back to its blank pure slate.


See too: Glenn Ligon at Regen Projects

Glenn Ligon at Regen Projects

(link)

It is, actually, surprisingly enjoyable watching the body of the man disembodied from his voice gesticulate comedy. Without necessarily being sure anything much deep can be read into the gestures, they are hypnotic, and ultimately the film's elegiac meditation feel more and more like a conspiracy clue hunt of insight into the man that we believe must exist. Back and to the left, back and to the left, hoping for the telling moment. But instead you're just watching footage of a man whose head recently exploded be silenced, turned into a monument.

See too: Mitchell Syrop at Croy Nielsen & Glenn Ligon at Regen Projects

Mitchell Syrop at Croy Nielsen & Glenn Ligon at Regen Projects

(Croy Nielsen , Regen)

The artworld's relation to its signs can be confusing. Here one shouts its empty signs, a sound like empty metal struck, the other attempts to deplete its referent to nausea. Both a protest. Different relations to iconography. Both truisms, but of nowhere equal value. Cuffing these two exhibitions to each other to each eat the other, this is CAD at its curatorial finest.

see too : Mitchell Syrop at Midway Contemporary Art , John Baldessari at Marian Goodman