Installation view, Julius Eastman & Glenn Ligon: Evil Nigger at 52 Walker.
52 Walker St.
January 24–March 22, 2025
The exhibition “Evil Nigger” at 52 Walker offers a compelling dialogue between the late composer Julius Eastman and contemporary artist Glenn Ligon. Eastman’s provocative 1979 composition, from which the show takes its title, serves as a focal point, challenging audiences with its confrontational nomenclature and minimalist intensity. Eastman, a Black gay composer, often imbued his works with themes of identity and defiance, reclaiming derogatory terms to confront societal prejudices. His music, characterized by repetitive structures and improvisational elements, resonates with a raw emotional power that remains profoundly relevant.
Glenn Ligon’s contributions to the exhibition thoughtfully engage with Eastman’s legacy. Known for his text-based artworks, Ligon employs neon sculptures and paintings to explore themes of language, identity, and race. In pieces like “Sparse Shouts (for Julius Eastman),” Ligon synchronizes blinking neon words with Eastman’s 1981 vocal improvisation, “Prelude to the Holy Presence of Joan d’Arc,” creating a visual and auditory interplay that underscores the complexities of communication and misinterpretation.
The exhibition delves into the shared concerns of both artists regarding authorial voice and the mutable nature of language. Eastman’s compositions often grappled with the tension between structure and freedom, mirroring Ligon’s exploration of how context influences meaning. Ligon’s use of materials like neon and coal dust adds layers of significance, reflecting on visibility and the weight of historical narratives.
In this exhibition, Eastman’s final unpublished musical score is presented, offering a rare glimpse into the mind of a composer who was ahead of his time. The score, with its intricate notations and layered harmonies, exemplifies Eastman’s ability to blend classical forms with contemporary issues. His music, while minimalist in structure, is maximalist in its emotional and political impact, forcing listeners to confront uncomfortable truths about society’s treatment of marginalized communities.
Curated by Ebony L. Haynes, “Evil Nigger” is a poignant testament to the enduring relevance of Eastman’s and Ligon’s work. The exhibition honors Eastman’s musical innovations and amplifies his voice through Ligon’s contemporary lens, inviting viewers to reflect on the intersections of art, identity, and society. It’s a powerful reminder of the capacity of art to challenge, provoke, and inspire.
