Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"I was not concerned with friends or enemies. Being unknown and a newcomer, I had neither. I was concerned with making truthful statements in my art and having it seen. Younger black artists objected to my paintings of white people. Some neither understood nor accepted my need to make images of anyone but black people. Others, I was told, felt that my steely-eyed white faces were going too damn far." Faith Ringgold, excerpted from her autobiography We Flew over the Bridge and featured in American People, Black Light: Faith Ringgold's Paintings of the 1960s.
Published by Glenstone Museum/Serpentine/Bildmuseet. Foreword by Emily Wei Rales, Hans Ulrich Obrist, Katarina Pierre. Text by Michele Wallace.
Lauded internationally for her narrative quilts and her colorful paintings of African American life, New York artist Faith Ringgold has explored and sabotaged perceptions of identity and gender inequality through her experiences in the feminist and civil rights movements. This catalog is published for her international traveling exhibition organized by the Serpentine, London, which traveled to Bildmuseet, Sweden, in 2020 and opens at Glenstone Museum, Potomac, Maryland, in 2021. Focusing on several series of paintings, story quilts and political posters from the 1960s to today, the book includes two texts by Michele Wallace that interweave Ringgold’s biography with the chronology of works in the exhibition. In an extensive interview, Hans Ulrich Obrist and Ringgold discuss her life in Harlem, the civil rights movement of the 1960s, her inspirations and her passion for storytelling and exercising her freedom of speech. The book also documents the expanded scope of the exhibition at the Glenstone Museum, which includes key examples of Ringgold’s soft sculpture and rare experiments with pure abstraction. Faith Ringgold (born 1930) is a painter, mixed-media sculptor, performance artist, teacher and writer best known for her narrative quilts. As an avid civil rights and gender equality activist, Ringgold’s work is highly political; in 2020, the New York Times described her as an 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.” She has had solo shows at Spectrum Gallery (1967), Studio Museum in Harlem (1984) and, most recently, a five-decade retrospective at the Serpentine (2019). Her work is in the collections of the Museum of Modern Art, New York, the Brooklyn Museum and the Baltimore Museum of Art, among others.
Published by Walther König, Köln. Edited by Melissa Blanchflower, Natalia Grabowska, Melissa Larner. Text by Michelle Wallace. Interview by Hans Ulrich Obrist.
Famed for her narrative quilts and her brightly colored paintings of African American life, New York artist Faith Ringgold (born 1930) has consistently challenged perceptions of identity and gender inequality through the lenses of the feminist and the civil rights movements.
As cultural assumptions and prejudices persist, her work retains its contemporary resonance both for observers and for fellow artists inspired by her narrative mastery and her ability to give mythical power to scenes of everyday life.
Focusing on different series that she has created over the past 50 years, this monograph portrays the breadth of her work, including paintings, story quilts and political posters made during the Black Power movement. The book also includes an interview with the artist conducted by Hans Ulrich Obrist, as well as an essay written by the artist’s daughter, Michelle Wallace.
Published by The Museum of Modern Art, New York. Text by Anne Monahan.
Ten adults—men and women, black and white—fight, flee or die over the twelve-foot span of American People Series #20: Die, as an interracial pair of children cowers unnoticed in their midst. While Faith Ringgold (born 1930) was devising this bloody spectacle in a Manhattan studio in the summer of 1967, civil unrest was convulsing black neighborhoods across the US. Art historian Anne Monahan's essay explores the mural's carefully orchestrated chaos and its multiform inspirations, from contemporary anxiety about black revolution, through the writings of James Baldwin and LeRoi Jones, to iconic canvases by Picasso and Pollock then on view at MoMA.
Published by Neuberger Museum of Art. Edited by Thom Collins, Tracy Fitzpatrick. Text by Michele Wallace.
Faith Ringgold (born 1930) is famed today as the progenitor of the African-American story-quilt revival of the late 1970s, but her story begins much earlier, with her American People Series of 1963. These once influential paintings, and the many political posters and murals she created throughout the 1960s, have largely disappeared from view, being routinely omitted from art historical discourse over the past 40 years. American People, Black Light is the first examination of Ringgold's earliest radical and pioneering explorations of race, gender and class. Undertaken to address the social upheavals of the 1960s, these are the works through which Ringgold found her political voice. American People, Black Light offers not only clear insight into a critical moment in American history, but also a clear account of what it meant to be an African American woman making her way as an artist at that time.
PUBLISHER Neuberger Museum of Art
BOOK FORMAT Paperback, 9 x 10.75 in. / 136 pg / 71 color / 23 bw.
PUBLISHING STATUS Pub Date 3/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 72
PRODUCT DETAILS ISBN 9780979562938TRADE List Price: $30.00 CDN $35.00