Manuscript geographical treatise of the world, France, Paris, circa 1565 [+]

“The language that I have cultivated throughout my artistic trajectory comes from a multiplicity of signs, icons, micrographies, calligrams or benigrams without a code, unrepeated and unrepeatable, that coexist, articulate and manifest themselves in a manner that is always unique, always reinvented, and that in the end forms a micro-theater or calligraphic representation of the great micro-theatre of the world.”

[read the rest here; also a video of the exhibition]

Parallel Benet Rossell Exhibition by Teresa Grandas, co-curator (2010)

In Ligon’s paintings, the instability of his medium—oil crayon used with letter stencils—transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriates. Ligon threads his own image and autobiography into symbols that speak to collective experiences. “It’s not about me,” he says. “It’s about we.” [more here]

Glenn Ligon, Stranger Drawing, 2004

Bradley Harrison’s “Gray,” the last in a series of erasures of his own poem “Her Problem of Gravity” (2012). Read them all over at The Offending Adam, here.

“Schor’s work balances political and theoretical concerns with formalist and material passions. Her work has included major periods in which gendered narrative and representation of the body have been featured, in other periods the focus of her work has been representation of language in drawing and paintings.” [+]

Mira Schor, Book of Pages #8 (detail: “Portugal and Auschwitz”), 1976

Mixed media on rice paper