Glenn Ligon, Runaways, 1993
Images of Glenn Ligon, Runaways

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

- Short A black-and-white image with vintage text describing a runaway black man is set underneath an illustration of a person walking with a knapsack.
- Long In this portrait-formatted picture with a black frame against a white background, an illustration of a walking person is seen above an inset block of text. The dark-complected person, shown in profile, is wearing a light shirt and dark pants but no shoes. They have a knapsack on a stick over their shoulder. Underneath a block of text in old-style font begins: "Ran Away, Glenn, a young black man," followed by a description of the man in question.
Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago

Runaways, 1993
lithographs
Ten parts, each: 16 × 12 in. (40.6 × 30.5 cm); framed: 19 ¾ × 15 11/16 in. (50.2 × 39.8 cm)
Collection Museum of Contemporary Art Chicago, Gift of Sandra P. and Jack Guthman, 2000.12.a-j
Photo: Nathan Keay, © MCA Chicago
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Related content
Exhibitions
- The Making of a Fugitive–
- Short Twenty six black-and-white photographs of Patricia Hearst in four rows, with a letter of the alphabet—from A to Z—in white superimposed over each one.
Collection
- Glenn Ligon, Narratives, 1993
- Short A title page on cream paper with a thin matching frame for the text "The Life and Adventures of Glenn Ligon"
- Glenn Ligon, Untitled, 1992
- Short A framed text, black on white, reads "I feel most colored when I am thrown against a sharp white background". This phrase is repeated and gradually becomes distorted until illegible at the bottom.
- Long A body of black text is printed on a white rectangle with even borders of white space on all four sides. The text reads "I feel most colored when I am thrown against a sharp white background," repeated without punctuation or line breaks to separate the repetitions. The text is printed in a stenciled font with gritty smudges that become more and more prominent as the text continues, eventually blending with the text at the bottom of the image, rendering it almost illegible. It has a narrow black frame.
- Glenn Ligon, Untitled (Study #1 for Prisoner of Love), 1992
- Short Black stenciled text that reads "WE ARE THE INK THAT GIVES THE WHITE PAGE A MEANING" repeats for twenty-nine lines, gradually becoming distorted until it's almost illegible at the bottom.