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...practice that challenges the certainties that tend to define the representation of black bodies in America. Drawing from a vast archive of black cultural arts, Ligon has used textual history, notably passages from works by James Baldwin and Zora Neale Hurston, as reference points for understanding contemporary issues of identity, sexuality and politics. Borrowing language has enabled Ligon to shape an associational practice in which his works compel meanings to do more than what their original moments hoped for. Throughout this interview, Phillip and Ligon discuss the artist's travelling exhibition Some Changes, which was on the first stop of an international tour at the Power Plant in Toronto, and the sites it tries to occupy, notably the classroom and the home. Ligon shifts the way iconographic figures and moments like Malcolm X and the Million Man March are imagined by and sustained within popular consciousness. His Untitled (I am a man) (1988) painting is exemplary of diligent "historical remembrance" by which a moment in African-American history continues to deliver a contemporary critique about racist, sexist and heteronormative practices in the organization of black male life in America.

LP Glenn, your work centres the black experience as a crucial part of American experience. It reminds me of African-American writer Toni Morrison's argument that black bodies axe always present despite attempts to erase and deny visibility. For this show, I'm happy to see selections from your colouring series, and what are--for the sake of framing an idea--iconographic moments and national symbols. Two things, Glenn: Can you talk about the art process and the children that helped reconstitute the image of Malcolm X and then talk about the colouring of the Canadian and American flags? What's the relationship?

GL The idea of working with children and colouring book images originated with a project for the Walker Art Center in Minneapolis. I...

NOTE: All illustrations and photos have been removed from this article.



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