“American People, Black Light: Faith Ringgold’s Paintings of the 1960s” coincided with her traveling exhibition. “Faith Ringgold: Die” provides the backstory for Faith Ringgold’s fascinating “American People #20: Die” (1967) painting, which was acquired by the Museum of Modern Art in 2016. Serpentine Galleries published a catalog to accompany “Faith Ringgold.” Glenstone is producing an expanded version of the catalog, forthcoming in December. She told Giles: “I have kind of forgotten the sharp feeling I used to get of being rejected and maybe it has to do with being left out so many times. ![]() We can’t do that,” Ringgold said in her mind she always thought, “Yes we can.” One of the things I feel really defines her practice is this fearlessness to take on anything.”Ĭoming of age during a period when the feeling was, “We can’t do this. Whether that was experimenting with different kinds of media or technique, she was going to do it no matter what,” Rales said. “If she wanted to do something, she was not going to let anything stand in her way. Glenstone’s collection includes nine works by Ringgold, all on view in the survey. The exhibition is curated by Emily Rales, co-founder, director, and chief curator of the private museum. Giles visited with the 90-year-old artist at her home studio and toured Glenstone, where more than 70 works are on view in a monographic survey. “One of the things I feel really defines her practice is this fearlessness to take on anything.” - Emily RalesīORN IN HARLEM, Ringgold lives and works in Englewood, N.J. ![]() Later, when she began practicing, she said the art world had many problems with her, including the fact that she painted white people. ![]() The CBS profile reports that growing up Ringgold suffered from severe asthma and was educated primarily at home, an experience that gave her the freedom to be herself. Over the years, Ringgold has worked in multiple mediums, producing striking paintings about American racism and story quilts that explore African American life and her own biography. Both social enterprises largely ignored the concerns of Black women, fueling her activism and her art. Ringgold began expressing herself as a practicing artist in the early 1960s, a transformational political period when the Black Power movement centered Black men and the women’s movement focused on white women.
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