Thursday reminded me of what’s great about living in San Francisco. The day began with a press tour of “Faith Ringgold: American People,” a retrospective of the 91-year-old artist’s work at the de Young, and ended at a KQED Live event with Oakland’s own Danyel Smith, author of ”A Very Personal History of Black Women in Pop.” Having the good fortune to spend a big part of the day immersed in the work of two brilliant Black women was like someone turning the lights and music back on inside of me. ...
Click here to read the full article. Time magazine released its list of the 100 “most influential” people of 2022 on Monday and this year’s edition featured notable artists alongside the usual suspects of politicians and zeitgeisty celebrities. Artist-activists Nan Goldin and Faith Ringgold were featured on the list along with Ukrainian President Volodymyr Zelensky, actress Michelle Yeoh, and writer Sally Rooney. Like always, the roundup is divided into categories of artists, innovators, titans, leaders, icons, and pioneers; previous winners were invited to pen short essays honoring the impact of the 2022 recipients. In artists, Faith Ringgold was recognized by Thelma Golden, director...
A Renaissance woman born in Harlem during its own Renaissance, Faith Ringgold has painted, sculpted, written, sewed, and incited change all her life. Her fundamental reinvention of narrative-based art, especially her panoptic elevation of the American craft tradition, has firmly established her as one of the great artists of our time. From the late ’60s, when she was protesting the exclusion of Black and women artists from museums, to the late 2010s, when the expanded Museum of Modern Art proudly hung her masterpiece, the painting American People Series #20: Die (1967), Faith’s path has been courageous, profound, and unflinching in its depiction of contemporary society. Along the way, Faith created a global legacy with her beloved children’s books, including the award-winning favorite Tar Beach. A creative force and artistic visionary, she has been making breakthroughs for more than six decades, something very clearly exhibited in two retrospectives of her art this past year—at the Glenstone Museum’s groundbreaking presentation of the Serpentine-organized survey and at the New Museum’s showcase. It is with great joy that I reflect on the Studio Museum in Harlem’s seminal 1984 exhibition “Faith Ringgold: Twenty Years of Painting, Sculpture, and Performance 1963–1983,” and consider all that Faith has accomplished in the nearly four decades since. The art world is only just now catching up with Faith Ringgold.
The Cut and the New Museum are partnering on a speaker series about the intersections of self, society, and contemporary art, drawing inspiration from the museum’s upcoming exhibitions. This week’s inaugural live panel, led by Rebecca Traister, featured Isolde Brielmaier, Paola Ramos, and Kimberly Drew. They discussed women, labor, and leadership.
American People, Faith Ringgold’s first exhibition outside Harlem, opened at Spectrum Gallery on 57th Street in December 1967. The exhibition featured her three murals, including U.S. Postage Stamp Commemorating The Advent of Black Power (1967). Despite Ringgold’s determination to exhibit her paintings throughout the mid-1960s, she initially met with little success. The white-owned commercial galleries on 57th Street were dismissive, and Spiral, identified affectionately as the “old men of Black art“ by the painter Vivian Brown, declined to admit her into the group. But following public displays of her work in Harlem in 1966 — including in a traveling caravan exhibition organized by Amiri Baraka “(then LeRoi Jones) and Betty Blayton-Taylor for the Black Arts Repertory Theater — she was invited to join the cooperative Spectrum Gallery, where New York school abstraction was still prominent and every artist on the roster except Ringgold was white.
Domee Shi, the director and co-writer of "Turning Red," talks about the new Disney-Pixar animated film about a girl who turns into a giant red panda when she gets emotional. And, a retrospective of the works of Faith Ringgold is now on display at the New Museum in New York. The 91-year-old redefined the history of American art by carving a space for Black women artists. Karen Michel has the story.
A retrospective of the works of Faith Ringgold is now on display at the New Museum in New York. The 91-year-old redefined the history of American art by carving a space for Black women artists. Karen Michel has the story.
For over six decades, the artist, activist, educator, and writer Faith Ringgold has drawn from both her own life and collective histories in the pursuit of racial justice and equity. From protesting museums with the Ad Hoc Women’s Art Committee in the 1970s to publishing and illustrating seventeen children’s books to her paintings, soft sculpture, and story quilts, her invincible spirit is fully apparent in “Faith Ringgold: American People,” the most comprehensive exhibition to date of her farsighted work. The show remains on view at the New Museum in New York through June 5, 2022.
Herald Community Newspapers
“Picasso’s Studio” (1991) “Who’s Afraid of Aunt Jemima?” (1983) “Flag Story” quilt (1985) “Echoes of Harlem” (1980) “Slave Rape Story” quilt (1985) On Feb. 24, Mary Vahey, an art professor at Nassau Community College and Suffolk County Community College, gave a presentation, in conjunction with the Baldwin Public Library, on the artistry of Faith Ringgold, an African-American painter, writer, mixed-media sculptor and performance artist who is best known for her paintings and narrative quilts, featured in such museums as the Guggenheim and the Museum of Modern Art.
The art and activism of Faith Ringgold and Aminah Robinson will be explored later this month during Randolph College’s 30th Annual Helen Clark Berlind Symposium. Their groundbreaking work is currently on display in the College’s 110th Annual Exhibition of Contemporary Art, Storytellers: Faith Ringgold + Aminah Robinson, at the Maier Museum of Art at Randolph College.
In one of her final moves before her husband Bill de Blasio ceded his role as New York City mayor to the newly elected Eric Adams, Chirlane McCray joined the city’s Department of Correction last week in announcing that a painting by Faith Ringgold will move from its decades-long home on Rikers Island to the Brooklyn Museum, pending a review by the NYC Public Design Commission. For the Women’s House, which shows women at work in fields ranging from medicine and public transportation to policing and professional basketball, was dedicated to the Correctional Institution for Women on Rikers Island in 1972....
Brooklyn Daily Eagle
An iconic mural by celebrated artist Faith Ringgold, “For the Women’s House,” is expected to be moved out of the Rose M. Singer Center (RMSC) on Rikers Island, a building for female inmates, to the Brooklyn Museum, subject to review by the NYC Public Design Commission. “The...
110th Annual Exhibition of Contemporary Art features work of trailblazing Black artists Faith Ringgold and Aminah Robinson
During a 2010 talk at the Columbus Art Museum, artists and friends Faith Ringgold and Aminah Robinson reminisced about their respective journeys, agreeing that art is both a way of life and a way to remember and honor the past. “You put it in your work and it will live...