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12019-09-04T17:00:15-07:00Lauren Cesirof37e4e52c3d9a4ff08b7937020ee9048f11c6739346705These images are featured in the exhibition, “not but nothing other: African American Portrayals, 1930s to Today.“ Hover over the highlighted rectangles for more information and links to related content.plain2020-02-01T09:18:09-08:00Lauren Cesirof37e4e52c3d9a4ff08b7937020ee9048f11c6739
12019-09-04T17:11:14-07:00Lauren Cesirof37e4e52c3d9a4ff08b7937020ee9048f11c6739Glenn Ligon discusses his practice at ArtBasel 2016Lauren Cesiro3plain2019-09-04T17:19:12-07:00Lauren Cesirof37e4e52c3d9a4ff08b7937020ee9048f11c6739
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12019-08-27T11:24:48-07:00Glenn Ligon (born 1960) Runaways, 199319These images are featured in the exhibition, “not but nothing other: African American Portrayals, 1930s to Today.“ Scroll through the images and hover over the highlighted rectangles for more information and links to related content.plain2020-01-24T14:30:28-08:00
To run away is to become a fugitive, an outlaw, someone who refuses to remain in their “proper” place. In Runaways, a series of ten lithographs from the early 1990s, Glenn Ligon provides us with a dispersed portrait of such a fugitive self.
Looking at nineteenth-century advertisements for enslaved people who had escaped their owners, he was struck by the elaborateness of the descriptions provided. They seemed to exceed the purpose at hand and instead spoke “to a complicated relationship,” as he calls it, between master and human property. Ligon subsequently asked ten friends to describe him, as if filing missing person’s report; he printed these descriptions in a graphic format reminiscent of the old ads, now for a “runaway” named Glenn. The results are at once humorous and disturbing, and a reminder, as Ligon has commented, of “how an individual’s identity is inextricable from the way one is positioned in the culture, from the ways people see you, from historical and political contexts.”
