-
DISTINGUISHED PROFESSOR LISA FARRINGTON ILLUSTRATES HOW ART ENRICHES A JUSTICE-FOCUSED EDUCATIO
John Jay College of Criminal Justice Nov 7, 2019 Lisa Farrington, Ph.D., Distinguished Professor and Founding Chair Emeritus in the Department of Art & Music, has lived a life surrounded by art—whether creating it, analyzing it, writing about it, or teaching a course, art has been at the center of her life. Over the years, her work has garnered a number of accolades, most recently the Lifetime Achievement award from the Anyone Can Fly Foundation. The award, which honors master artists and scholars of the African diaspora, was especially meaningful because it came from Faith Ringgold, the artist that awoke Farrington’s passion for African-American art. “Growing up I didn’t know much about African-American artists because African-American art wasn’t being taught in most schools at the time. It was during an art class that I took while pursuing my bachelor’s degree at Howard University, a Historically Black College, that I was introduced to Faith Ringgold’s work. We were shown her painting ‘American People Series #20: Die’ and I was completely blown away by her work. That piece now hangs next to Picasso’s ‘Demoiselles d’Avignon’ at the Museum of Modern Art.” Years later, while attending the CUNY Graduate Center, Ringgold’s work took center stage in Farrington’s doctoral dissertation, which later became two books, and put her on a path toward educating at John Jay. Read more -
The Pattern and Decoration Movement Is the Missing Feminist Piece of Our Maximalist Moment
Architectural Digest, Stacie Stukin Nov 5, 2019 A new MOCA exhibition reminds viewers of P&D's quilts, wallpapers, and long-overlooked significance Read more -
MoMA's Revisionism Is Piecemeal and Problem-Filled: Feminist Art Historian Maura Reilly on the Museum's Rehang
Artnews, Maura Reilly Oct 31, 2019 During the 1990s, while pursuing my graduate art history degree at New York University, I worked in the Education Department of the Museum of Modern Art, where I led gallery tours of the museum’s permanent collection for the general public and occasionally VIPs. At that time, the permanent exhibition galleries, representing art produced from 1880 to the mid-1960s, were arranged to tell the “story” of modern art as conceived by founding director Alfred H. Barr, Jr., beginning with Monet and Cézanne, and then leading into Picasso, Futurism, Surrealism, and Jackson Pollock. According to Barr, “modern art” was a synchronic, linear progression of “isms” in which one (heterosexual, white) male “genius” from Europe or the U.S. influenced another who inevitably trumped or subverted his previous master, thereby producing an avant-garde progression. Barr’s story was so ingrained in the institution that it was never questioned as problematic. The fact that very few women, artists of color, and those not from Europe or North America—in other words, all “Other” artists—were not on display was not up for discussion. Indeed, I was dissuaded by my boss from cheekily offering a tour of “women artists in the collection” at a time when there were only eight on view. Read more
-
MoMA Reopening: Everything You Need to Know
The New York Times, Azi Paybarah Oct 21, 2019 For the last four months, one of the best known art institutions in the country, the Museum of Modern Art has been closed as part of an approximately $450 million renovation. Read more -
What the New MoMA Misunderstands About Pablo Picasso and Faith Ringgold
Frieze, Jack McGrath Oct 18, 2019 Whether pairing the two inspires consternation or praise depends largely on how we conceive of the purpose of the Museum itself Read more -
Budge up, great white males! MoMA goes global with an explosive $450m rehang
The Guardian, Charlotte Higgins Oct 16, 2019 It has the world’s finest modern art collection. But now the revered museum is rebalancing its walls – massively boosting work by women and artists of colour Read more
-
The Exuberance of MOMA’s Expansion
The New Yorker, Peter Schjeldahl Oct 14, 2019 The museum’s unparalleled collection spreads out in an enlarged space with updated stories to tell. Read more -
MoMA Reboots With 'Modernism Plus'
Holland Cotter Oct 10, 2019 When the Museum of Modern Art reopens on Oct. 21 after a $450-million, 47,000-square-foot expansion, it will finally, if still cautiously, reveal itself to be a living, breathing 21st-century institution, rather than the monument to an obsolete history — white, male, and nationalist — that it has become over the years since its founding in 1929. Read more -
New York's Iconic Museum of Modern Art Reveals Its $450 Million Makeover
Architectural Digest, Nick Mafi Oct 10, 2019 Designed by Diller Scofidio + Renfro in collaboration with Gensler, the renovated space includes an additional 165,000 square feet of gallery space, while making the artwork more accessible to the public. Read more
-
‘Mellencamp: Three Generations of Art’ coming to arts center
Sep 30, 2019 Southern Indiana Center for the Arts in Seymour recently announced its October exhibit, “Mellencamp: Three Generations of Art,” featuring works from John, Marilyn and Speck Mellencamp. Read more -
Speaking Terms: Faith Ringgold’s Decades-Long Artistic Legacy Finds Power in London
ARTNews, Rianna Jade Parker Sep 6, 2019 In 1990, Verso Press republished Black Macho and the Myth of the Superwoman—a now-notorious critique of the 1960s-era Black Power Movement by Michele Wallace, a feminist writer and also the daughter of artist Faith Ringgold—with a new introduction in which the author reflected on lessons learned in the years after her book’s original publication in 1978. “It is my conviction that the only way to avoid repeating the mistakes of the past is to openly discuss them,” Wallace wrote. “Whether in nations, families, or individuals, the practice of being on speaking terms with your past lives is the only thing that makes it possible to trust yourself or anyone else. … The thing that still remained to be worked out was my relationship to my family as a writer and as a woman.” Read more -
Six Works From Glenstone Are Going on Display at the Reach
Washingtonian, Nathan Diller Sep 5, 2019 From one great American institution to another, six works from Glenstone are taking a trip along the Potomac to be displayed at the Reach, the Kennedy Center’s new expansion, which opens to the public this weekend. Starting on September 7th, the works, ranging from aluminum paintings to mixed media on wood, will be on view alongside four other permanent pieces. Read more
-
A Portrait of Faith Ringgold Painted by Alice Neel is Jordan Casteel’s Favorite Artwork
Culture Type, Victoria L. Valentine Aug 27, 2019 WORKS BY MORE THAN 60 ARTISTS, including Faith Ringgold, are featured in “Soul of a Nation: Art in the Age of Black Power.” Nearly all the artists are black, except Virginia Jaramillo, Andy Warhol (1928-1987), and Alice Neel (1900-1984), who contributed a portrait of Ringgold to the landmark exhibition. Read more -
The Hirshhorn Museum Asked Artists About Their Influences. Amy Sherald Chose Deborah Roberts, Jordan Casteel Selected Faith Ringgold
Culture Type, Victoria L. Valentine Aug 25, 2019 FOR ITS FIFTH ANNUAL GALA in New York, the Smithsonian’s Hirshhorn Museum and Sculpture Garden is paying tribute to 42 artists, an “intergenerational vanguard” including Jordan Casteel, Faith Ringgold, Amy Sherald, Deborah Roberts, and David Hartt. Read more -
Faith Ringgold’s Painted and Sewn Survey of United States History
Hyperallergic, Naomi Polonsky Aug 5, 2019 At London’s Serpentine Gallery, Faith Ringgold tells stories of race and self-discovery which have too often gone untold. Read more
-
Faith Ringgold’s Painted and Sewn Survey of United States History
Hyperallergic, Naomi Polonsky Aug 5, 2019 At London’s Serpentine Gallery, Faith Ringgold tells stories of race and self-discovery which have too often gone untold. Read more -
On View: At Serpentine Galleries in London, Faith Ringgold’s First Solo Exhibition at a European Institution
Culture Type, Victoria L. Valentine Jul 21, 2019 SERPENTINE GALLERIES is presenting a five-decade survey of pioneering American artist Faith Ringgold, 88. Throughout her career, Ringgold has worked at the intersection of art and politics. Exploring many bodies of work dating from 1963 to 2010, the show spans the civil rights and Black Power eras and continues a decade into the 21st century. Read more -
Black Female Artists Are Headlining Exhibitions Throughout London This Summer
Culture Type, Victoria L. Valentine Jul 21, 2019 MORE THAN A DOZEN EXHIBITIONS, most in and around London, are showcasing the work of black female artists this summer. Presented at museums, nonprofits, and commercial galleries, many of the shows are breaking new ground for the artists, who span generations. Faith Ringgold at Serpentine Galleries is making her European institutional solo debut and Deborah Roberts at Stephen Friedman Gallery is presenting her first-ever European solo exhibition. Read more
-
88-Year-Old Artist Faith Ringgold: "There Is Power In Ageing"
Vogue, Amel Mukhtar Jul 8, 2019 “There is power in ageing,” Faith Ringgold declares. We are talking about her forthcoming project, Ageing-aling-aling, but, coming after a wealth of stories, narrated in the slinky Chucs café next to her first European retrospective at the Serpentine Gallery, the statement feels a little redundant. At 88, and as engaged as ever, the multidisciplinary artist has witnessed numerous landmark social shifts - and all the more extraordinarily, been at the centre of many. Read more -
Faith Ringgold: The artist who captured the soul of the US
BBC, Arwa Haider Jul 3, 2019 As a new exhibition of art by Faith Ringgold opens in London, the 88-year-old talks to Arwa Haider about her early life and how she created subversive works with postage stamps and story quilts. Read more -
Luchita Hurtado / Faith Ringgold review: Veterans of vivid art show off their true colours
Evening Standard, Ben Luke Jun 11, 2019 These shows are surveys of long lives — the combined age of Hurtado and Ringgold is 186. Neither has had a UK solo show before. Read more
-
News: Three exhibitions to see in London this weekend, June 7, 2019 - The Art Newspaper, Gareth Harris and Gabriella Angeleti Three exhibitions to see in London this weekend
The Art Newspaper, Gareth Harris and Gabriella Angeleti Jun 7, 2019 From Michael Rakowitz’s recreations of bombed artefacts at the Whitechapel Gallery, to Faith Ringgold’s story quilts at the Serpentine Gallery Read more -
‘Everything She Takes Becomes Hers’: A Look Back at Faith Ringgold’s ‘Compelling, Singular Vision’
ArtNews Jun 7, 2019 During the 1960s and ’70s, Faith Ringgold was at the center of a community of black female artists dealing in their work with issues related to race, gender, and their intersections. While her “story quilts”—woven pieces that reveal aspects of her autobiography—are well-known, her paintings and sculptural works have only recently received mainstream recognition. With a retrospective of the artist’s work now on view at the Serpentine Gallery in London, we went through our archives and pulled out excerpts from interviews with Ringgold and reviews of her work, including musings on her first-ever solo exhibition, at Spectrum Gallery in New York. American People Series #20: Die (1967), the 12-foot-long painting mentioned in that review, was recently acquired by the Museum of Modern Art in New York—a sign of Ringgold’s rising star. —Alex Greenberger Read more -
Iconic American Artist Faith Ringgold Lands in London With a Powerful Show at the Serpentine
Newsweek, Paula Froelich Jun 6, 2019 The iconic American artist Faith Ringgold takes London by storm in a powerful new show at the Serpentine Gallery. Read more
-
London Celebrates Artist Faith Ringgold’s Black Power
WWD, Natalie Theodosi Jun 5, 2019 Ringgold is the subject of the Serpentine Galleries' summer exhibition and to coincide with the opening, Matchesfashion.com has also dedicated a room at 5 Carlos Place to celebrate her work. Read more -
FAITH RINGGOLD TAKES ON THE SERPENTINE GALLERIES AND TRUMP
Cultured, Diana McClure May 16, 2019 With its potent depictions of racial violence and African American empowerment now more palatable to the mainstream, the explicit political content in Faith Ringgold’s early work is increasingly de rigueur. Read more -
The Armory Show: A Mini Survey of Faith Ringgold’s Legendary Practice is on Display at ACA Galleries
Victoria L. Valentine Mar 10, 2019 ACA GALLERIES is showing for the first time at The Armory Show and the storied dealer has dedicated its entire booth to Faith Ringgold. There are three paintings from her Black Light Series (1967-69) on display, graphic political prints from the early 1970s, figurative sculptures made in 1978, story quilts including “Change 2” (1988) and “Tar Beach #2” (1990), and paintings on fabric from 2010 called tankas that feature portraits of Harriet Tubman, Sojourner Truth, and Martin Luther King Jr. Read more
-
Highlights from the Armory Show 2019
Architectural Digest, Katherine McGrath Mar 7, 2019 A selection of booths and works from this year's fair that caught AD's eye Read more -
The Most Influential Living African American Artists
Artsy Feb 25, 2019 In 1926, the historian Carter G. Woodson instituted Negro History Week. The second-ever African American recipient of a Ph.D. from Harvard (after W.E.B. DuBois), Woodson wanted to acknowledge the vibrant cultural achievements of African American individuals that were rippling through the country. At the time, Harlem was brimming with poets such as Langston Hughes and Claude McKay, while Louis Armstrong and Fats Waller were developing Chicago’s jazz scene. In 1976, President Gerald Ford officially transformed Woodson’s initiative into the month-long celebration we honor to this day: Black History Month. Read more -
Alife & Brooklyn Museum Honor Artist Faith Ringgold with Black History Month Collab
Hypebeast, Keith Estiler Feb 6, 2019 A capsule collection spotlighting Ringgold’s iconic ‘The United States of Attica’ artwork. Read more
-
The Fantastic Life of Faith Ringgold
Hyperallergic, Ken Tan Jan 1, 2019 An impressive synthesis of influences, along with an obdurate resistance to being told what she can or cannot do, forms the bedrock of Ringgold’s art. Read more -
What AbEx Women Can Teach Us about Today’s Gold Rush for Female Artists
Artsy, Mary Gabriel Nov 6, 2018 In socioeconomic terms, the Abstract Expressionist movement in New York can be divided into two eras: the first featuring obscurity and poverty, and the second, fortune and fame. But there was very little by way of a transitional bridge between those two periods, which made the arrival of a flood of cash and notoriety in the mid-1950s oddly destabilizing for the artists working in New York. As their colleague, the writer Harold Rosenberg, said, “They lost their minds.…It was the money. Just like schmucks in Hollywood. This hit them much too strong and much too organized.” Read more -
The Civil-Rights Activist Who Pushed Museums to Feature Black Artists
The Cut, Jenna Adrian-Diaz Sep 28, 2018 More than 300 people gathered at the Brooklyn Museum last night to listen to 87-year-old Faith Ringgold speak about her extraordinary career and activism, which included fighting for major New York City museums to feature work by black artists in the 1960s. Two of her artworks appear in the Brooklyn Museum’s recently opened retrospective, “Soul of a Nation: Art in the Age of Black Power, which features black artists who explored themes of race, identity, and activism from the years 1963 to 1983. Read more
-
For Faith Ringgold, the American Flag Has Always Been a Potent and Powerful Symbol
Culture Type, Victoria L. Valentine Jul 4, 2018 THE AMERICAN FLAG, its design and all that it symbolizes, is the basis for some of the most politically potent and astute work Faith Ringgold has made over past half century. Read more -
50 Years of Celebrating Black Beauty and Culture: Faith Ringgold
Frieze, Osei Bonsu Apr 19, 2018 With her first UK show at Pippy Houldsworth Gallery, London, the Harlem-born artist reflects on the African American experience Read more -
Due West Opens in the West Village
WWD, Kristen Tauer Jan 10, 2018 The bar will feature a rotating selection of art in collaboration with ACA Galleries. Read more
-
An Exhibition About Revolution that Keeps Faith with Ringgold
Hyperallergic, Ramsay Kolber Sep 15, 2017 It is a great irony that the Faith Ringgold’s first public commission was effectively imprisoned for over 40 years, but this situation raises valuable questions regarding our notions of the public and how that public is served. Read more -
‘Freedom of Speech Is Absolutely Imperative’: Faith Ringgold on Her Early Art, Activ
ARTNews, Andrew Russeth Dec 8, 2016 Earlier this year, the Museum of Modern Art in New York acquired one of Faith Ringgold’s landmark early paintings, American People Series #20: Die (1967), a potent 12-foot-long scene of a riot that shows black and white men and women running, crying, and falling to the ground, their faces gripped by horror. Two terrified children hold each other amid the mayhem. Blood is everywhere. Read more -
The Enduring Power of Faith Ringgold’s Art
Artsy Aug 4, 2016 In 1967, a year of widespread race riots in America, Faith Ringgold painted a 12-foot-long canvas called American People Series #20: Die. The work shows a tumult of figures, both black and white, wielding weapons and spattered with blood. It was a watershed year for Ringgold, who, after struggling for a decade against the marginalization she faced as a black female artist, unveiled the monumental piece in her first solo exhibition at New York’s Spectrum Gallery. Earlier this year, several months after Ringgold turned 85, the painting was purchased by the Museum of Modern Art, cementing her legacy as a pioneering artist and activist whose work remains searingly relevant. Read more
-
The Storyteller: At 85, Her Star Still Rising, Faith Ringgold Looks Back on Her Life in Art, Activism, and Education
ARTNews, Andrew Russeth Mar 1, 2016 In 1963, Faith Ringgold was 32, the mother of two daughters, and on the hunt for a gallery to show her work. To say that it was difficult for black artists to find gallery representation at that time would be a gross understatement. Nevertheless, as Ringgold tells it in her memoirs, We Flew over the Bridge (1995), she was unrelenting in her search, and one day she had a meeting with Ruth White, who ran a gallery in Manhattan on 57th Street. Read more -
Painter Doug Safranek’s Personal History with Eggs and an Ancient Medium
Artsy Feb 5, 2016 Without realizing it, Doug Safranek got pulled into the very long history of the medium of egg tempera when he decided to become a painter. In 1980, Safranek started in the MFA program at the University of Wisconsin-Madison, which remained, at that time, devoted in part to a curriculum of classical techniques. Read more -
The Surprising Vision of Artist Faith Ringgold
NPR, Celeste Headlee Dec 26, 2013 Legendary artist Faith Ringgold began her career in 1963 — the same year as the March on Washington. She talks to guest host Celeste Headlee about her life, work and why no one originally wanted to hear her story. Read more
-
Faith Ringgold’s ‘American People, Black Light’
The Washington Post, Lonnae O'Neal Parker Jun 13, 2013 Fifty years after the racial upheaval of the 1960s, Americans often like to say they don’t see color. They pretend not to see it even when it’s right in front of their faces, says artist Faith Ringgold. It’s a worldview she finds delusional, counterintuitive and impossible for artists like herself who traffic in color and shades of meaning. Read more -
Why Does John Baeder Paint Diners?
Design Observer, Steven Heller Nov 3, 2009 John Baeder paints diners. His goal for the past three decades has been to record on canvas and paper just about every diner, roadside eatery, and virtually every possible monument of American consumer culture. Read more -
ART REVIEW; Life's Abundance, Captured in a Collage
The New York Times, Michael Kimmelman Oct 15, 2004 IN July 1963, a month before the Rev. Dr. Martin Luther King Jr.'s March on Washington, Romare Bearden met with a group of other black artists in his studio on Canal Street to talk about what they should do for civil rights. "Western society, and particularly that of America, is gravely ill, and a major symptom is the American treatment of the Negro," Bearden said. "The artistic expression of this culture concentrates on themes of 'absurdity' and 'anti-art,' which provide further evidence of its ill-health." Read more
Page
2
of 2