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    Open a larger version of the following image in a popup: Glenn Ligon, Issac Hayes (version 1) #1, 2000
    Open a larger version of the following image in a popup: Glenn Ligon, Issac Hayes (version 1) #1, 2000
    Open a larger version of the following image in a popup: Glenn Ligon, Issac Hayes (version 1) #1, 2000
    Open a larger version of the following image in a popup: Glenn Ligon, Issac Hayes (version 1) #1, 2000
    Open a larger version of the following image in a popup: Glenn Ligon, Issac Hayes (version 1) #1, 2000
    Open a larger version of the following image in a popup: Glenn Ligon, Issac Hayes (version 1) #1, 2000
    Open a larger version of the following image in a popup: Glenn Ligon, Issac Hayes (version 1) #1, 2000

    Glenn Ligon Nueva York, EUA, b. 1960

    Issac Hayes (version 1) #1, 2000
    Oil, crayon and silkscreen on primed canvas
    122 x 91.5 x 4 cm
    48 x 36 x 1 5/8 in
    © 2000 Glenn Ligon
    Photo: Alejandro Paez

    Further images

    • (View a larger image of thumbnail 1 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 2 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 3 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 4 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 5 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 6 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 7 ) Ray Richardson, This sporting life, 1992
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    A portrait of the musician Isaac Hayes, somewhere between a drawing and a painting. The yellow details appear only on the model’s face, as if smudging it. He is wearing glasses and a chain around his neck, the details of which have also been smudged.

    Ligon’s work includes painting, neon, photography, printmaking, installation, and video. He often works with impasto typography, but he also creates portraits. His interests include American history and society, language, and identity, which he approaches with a critical eye, drawing on the legacies of contemporary painting and conceptual art.

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