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Lynn Nottage 1 month ago
On a wall in Glenn Ligon’s studio in Brooklyn, there is an astonishing 10-by-45-foot diptych bearing the entire text of James Baldwin’s 1953 essay “Stranger in the Village.” It is rendered in Ligon’s trademark style: painstakingly stenciled black-on-white letters partially covered with a layer of coal dust, which adds both weight and shimmer to Baldwin’s sentences. (“...
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