A Quote by Glenn Ligon

In '89, I got a grant from the National Endowment for the Arts. That's when I started to get into group shows. Suddenly, I sort of 'came out' as an artist. — © Glenn Ligon
In '89, I got a grant from the National Endowment for the Arts. That's when I started to get into group shows. Suddenly, I sort of 'came out' as an artist.
I switched up so that I could work 12-hour shifts at the firm on the weekends so I could have days free to paint. But it was almost like I had a secret life, because I wasn't showing any of my work. It was just in my house. In '89, I got a grant from the National Endowment for the Arts. That's when I started to get into group shows. Suddenly I sort of "came out" as an artist.
With 'Poison,' I'm sure some people just hated the movie, but it also got caught up into a debate about arts funding because it was a film that received a National Endowment for the Arts Public Grant, and it won the prize at the Sundance Film Festival.
When I was awarded a fellowship in poetry by the National Endowment for the Arts (for "Alphabets"), I felt myself suddenly (vaingloriously) equal to my Crow, which would be - I knew at once - Rat.
Miles and I had been looking to do a martial arts show for some time. Our first two movies that we wrote were "Lethal Weapon 4" and "Shanghai Noon" with Jackie Chan. Then we sort of got pulled into the superhero world, but then you look around at what's not on television and there wasn't really a martial arts shows. There are shows that do martial arts to a degree, but there's not a martial arts show.
I was a little press writer when the National Endowment for the Arts came to my rescue and gave me an award. I couldn't buy a light bulb. Almost more than the money, the awards are important because they show that someone believes in you.
Fortune ought to be a National Endowment for the Arts Jazz Master.
What a thrill it is to have my writing recognized by an institution as admirable and vital as the National Endowment for the Arts.
This funding from the National Endowment for the Arts has been like the Good Housekeeping seal of approval.
Mr. Chairman, obviously a $60 million cut in the National Endowment for the Arts would be a disaster.
That's the reason support for the National Endowment of the Arts is so important. It enables those ventures that aren't viable commercially to be done.
I wanted to be an artist, but at age 11, somehow all this musical knowledge and information and love for music that I had came out, and then suddenly it was very clear that I wanted to be a musician of some sort.
When our video of 'Smooth Criminal' came out, suddenly we started getting all kinds of offers. We were getting calls from TV shows like 'Ellen DeGeneres' and from record labels.
We need to cut these things that aren't constitutionally mandated, that are kind of on the periphery, the fluffery, like NPR and National Endowment for the Arts. Those are obvious.
I started out doing theater and a soap in New York and that's... sort of what I got stuck in. I was blessed enough to have long runs, and it's sort of hard sometimes then to get out.
As President, I will end once and for all the use of taxpayer funds to promote the National Endowment for the Arts and other programs that subsidize amoral and degrading activities.
I asked the man on the phone from the National Endowment for the Arts what this fellowship entailed, and he said, 'Well, first there's $10,000.' I asked him, 'Can I pay it in installments?'
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