A Quote by Glenn Ligon

I was in the 1993 Whitney Biennial and the 1994 'Black Male' show at the Whitney, and I've never seen such vicious press. Twenty plus years later, critics who hated that Biennial have come to Jesus and decided it was a really important, seminal show that they misunderstood.
The art world is now a fashion industry, led by its Whitney Biennial 'nose for the new look.' But nobody, it seems, has the guts or the brains to blow the necessary whistle and holler, 'Hold on guys! What the hell is this ugly bit of business?
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
I figure if I just stay true to myself and I am the Whitney that I've always been, people will look at me not as Whitney from the show, but as a human being.
I thought, 'A biennial needs artists. I'm going to do an international biennial; I need artists from all around the world.' So what I did was I invented a hundred artists from around the world. I figured out their bios, their passions in life and their art styles, and I started making their work.
What if Whitney was at her top, and we brought in a name like Whitney Houston, it would sell.
I was going to hang it up on the twenty-fifth year of this show. I don't know why. Maybe twenty-five years is enough. And I found out that I was having so much fun doing the show that we decided to stick around for a while.
There are two women that I am really in love with that I wish I could have dressed: The first one is Marilyn Monroe, and the second is Whitney Houston. People always ask me who's going to be the next, and I never know, but I know I would love to have had Marilyn and Whitney wear Balmain.
Heartbroken and in tears over the shocking death of my friend, the incomparable Ms. Whitney Houston. My heartfelt condolences to Whitney's family and to all her millions of fans throughout the world. She will never be forgotten as one of the greatest voices to ever grace the earth.
I would have hated for my 'Drag Race' moment to have come down to lip syncing a Whitney Houston song.
The very first time I had Whitney Houston on my show, however many years ago, I thought, "You are 'the voice.'" You are the voice, that was my name for you.
My introduction of Whitney was that if there's going to be one performer for the next generation who combined the beauty and lyric phrasing of a Lena Horne with those Gospel fiery roots of an Aretha Franklin, it would be Whitney Houston.
Whitney won't ever even know what it's like to be 50. Whitney will never know what it's like to be 50. She died before she was 50. So there's nothing to be ashamed of. You should be proud of your age.
Mine is only one of the millions of hearts broken over the death of Whitney Houston, I will always be grateful and in awe of the wonderful performance she did on my song, and I can truly say from the bottom of my heart, 'Whitney, I will always love you. You will be missed.'
Mine is only one of the millions of hearts broken over the death of Whitney Houston. I will always be grateful and in awe of the wonderful performance she did on my song and I can truly say from the bottom of my heart, 'Whitney, I will always love you. You will be missed.'
'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
I kept thinking, 'Somebody has to make a food show that is actually educational and entertaining at the same time... a show that got down to the 'why things happen.' Plus, I hated my job - I didn't think it was very worthwhile
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