Faith Ringgold

Faith Ringgold’s “Jazz Stories: Somebody Stole My Broken Heart”

March 21, 2022 - The New Yorker, Françoise Mouly

In the artist Faith Ringgold’s children’s book “Harlem Renaissance Party,” Lonnie, a young boy, and his Uncle Bates spend a whirlwind day in nineteen-twenties Harlem meeting Black artistic greats, including Langston Hughes, Josephine Baker, Louis Armstrong, and Coleman Hawkins. At the end of the tour, Lonnie says to his uncle, “Black people didn’t come to America to be free. We fought for our freedom by creating art, music, literature, and dance.” His uncle responds, “Now everywhere you look you find a piece of our freedom.” This understanding of the inescapable entanglement of joy and sorrow—and of hardship and creation—is one that echoes through much of Ringgold’s work, which can be seen, in a major retrospective, “Faith Ringgold: American People,” at the New Museum, in New York City, through June.

This week’s cover, for the Spring Style & Design Issue, features a piece from Ringgold’s “Jazz Stories” series, which she began in 2004. In it, Ringgold, who was born in Harlem in 1930, celebrates the music that has provided her with a lifetime of inspiration.

 

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Faith Ringgold’s Path of Maximum Resistance

February 18, 2022 - The New York Times, Holland Cotter

If you want to catch the heat of the lava flow that was United States racial politics in the 1960s, the second floor of the New Museum in Manhattan is a good place to go. There you’ll find the earliest work in “Faith Ringgold: American People,” the first local retrospective of the Harlem-born artist in almost 40 years.

Now 91, Ringgold was already a committed painter when the Black Power movement erupted. And she had a personal investment in the questions it raised: not just how to survive as a Black person in a racist white world, but how, as a woman, to thrive in any world at all.

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National Gallery of Art, Washington DC Acquires Faith Ringgold

October 21, 2021 - National Gallery of Art

“This may well be the most important purchase of a single work of contemporary art since the National Gallery acquired Jackson Pollock’s No. 1, 1950 (Lavender Mist) in 1976,” said Harry Cooper, senior curator and head of the department of modern and contemporary art.

The National Gallery of Art has acquired The American People Series #18: The Flag is Bleeding (1967), its first painting by Faith Ringgold (b. 1930). This pivotal work by a leading figure of contemporary art exemplifies the artist’s skill in using art as a vehicle to question the social dynamics of race, gender, and power. As a visual storyteller, Ringgold is known for her thought-provoking depictions of the difficult realities of the American experience. 

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Faith Ringgold's art of fearlessness and joy

July 11, 2021 - CBS Sunday Morning - Nancy Giles

Watch Faith Ringgold on CBS Sunday Morning

Sunday Morning Extra Nancy Giles talks with artist Faith Ringgold, who for decades refused to bow to convention during her career as she stitched a vibrant tapestry of art, history and social commentary

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Faith Ringgold News: In the Studio With Faith Ringgold, Living Icon, April 23, 2021 - W Magazine, Stephanie Eckardt

In the Studio With Faith Ringgold, Living Icon

April 23, 2021 - W Magazine, Stephanie Eckardt

“Mhm, that’s right,” Faith Ringgold says, reading the text at the bottom of her 1972 work United States of Attica: “This map of American violence is incomplete. Please write in whatever you find lacking.” We’re discussing one violent event in particular—the race riots that rocked Tulsa, Oklahoma 100 years ago—when it hits me: The massacre almost took place during Ringgold’s lifetime. The artist is now 90, and about as spry as a nonagenarian can be.

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At Age 90, Artist Faith Ringgold Is Still Speaking Her Mind

March 31, 2021 - The Wall Street Journal, Kelly Crow

The provocative pioneer known for quilts chronicling scenes of Black history, hope and protest, is the focus of a sweeping show coming to the Glenstone museum in Maryland

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Faith Ringgold: 'I'm not going to see riots and not paint them'

March 18, 2021 - The Guardian, Ellen E Jones

In a 70-year career, Ringgold has shown the US its bloody, brutal side. And yet the artist started out wanting to paint landscapes … She talks about growing up during the Harlem Renaissance and her battles with the establishment

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Faith Ringgold News: How the Studio Museum in Harlem Transformed the Art World Forever, February 26, 2021 - Harper's Bazaar, Salamishah Tillet

How the Studio Museum in Harlem Transformed the Art World Forever

February 26, 2021 - Harper's Bazaar, Salamishah Tillet

Betye Saar. Faith Ringgold. Mickalene Thomas. Julie Mehretu. Simone Leigh. Jordan Casteel. These are only a few of the Black women artists who have recently exhibited in the nation’s largest museums, like the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim, and the Getty. 

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Faith Ringgold News: Artists become storytellers in Ringling College show, February  5, 2021 - Herald-Tribune, Marty Fugate

Artists become storytellers in Ringling College show

February 5, 2021 - Herald-Tribune, Marty Fugate

“Storytellers: Faith Ringgold + Aminah Robinson” showcases the work of two game-changing African-American artists at Ringling College. Ringgold is a painter, a sculptor, a quilt-maker, and an award-winning children’s author and illustrator. Robinson’s art includes drawings, cloth paintings, books and woodcuts. Curators Tim Jaeger and Mikaela Lamarche reflect Robinson and Ringgold’s multimedia approach by framing their art in a narrative context.

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Faith Ringgold News: Faith Ringgold Will Keep Fighting Back, June 11, 2020 - The New York Times, Bob Morris

Faith Ringgold Will Keep Fighting Back

June 11, 2020 - The New York Times, Bob Morris

ENGLEWOOD, N.J. — Faith Ringgold has seen plenty of shake-ups and strange moments in her 89 well-traveled years. But the provocative Harlem-born artist — who has confronted race relations in this country from every angle, led protests to diversify museums decades ago, and even went to jail for an exhibition she organized — has had no reference point for the pandemic keeping her in lockdown and creatively paralyzed in her home in this leafy suburb for much of the spring.

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