- 416
Glenn Ligon
Estimate
100,000 - 150,000 USD
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Description
- Glenn Ligon
- No Room (Gold) #31
- signed, titled and dated 2007 on the reverse
- oil and acrylic on canvas
- 32 1/8 by 32 1/8 in. 81.6 by 81.6 cm.
Provenance
Regen Projects, Los Angeles
Private Collection
Private Collection
Condition
This work is in excellent overall condition. There is some variation in the application of the medium, which is inherent to the artistÂ’s working method. There are no visible condition issues with this work. There are no signs of restoration under ultraviolet light inspection. Unframed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
"In rewriting [Richard] Pryor's jokes as text paintings, Ligon forces us to consider the intensity of their stereotypes and uncovers the rage hidden beneath their humor. Ligon's painted fragments of Pryor's joke against a gold monochromatic background suggest his own visual punchline to a joke rooted in the past, yet still resonant in the present."
Jenny Ham-Roberts and Cathleen Lewis, "Glenn Ligon," Rethinking Contemporary Art and Multicultural Education, New York 2011, p. 147