Faith Ringgold, Black Light Series #1: Big Black, 1967. Oil on canvas 30 ¼ × 42 ¼ in (76.8 × 107.3 cm) Pérez Art Museum Miami.
Faith Ringgold, Black Light Series #10: Flag for the Moon: Die Nigger, 1969 Oil on canvas 36 × 50 in (91.4 × 127 cm) Glenstone Museum, Potomac, Maryland.
Faith Ringgold, Early Works #25: Self-Portrait, 1965 Oil on canvas 50 × 40 in (127 × 101.6 cm) Brooklyn Museum.
Faith Ringgold, Committee to Defend the Panthers, 1970 Cut-and-pasted colored paper, pencil, and presstype on paper 33 3/4 × 27 3/4 in (85.7 × 70.5 cm) Museum of Modern Art, New York.
Faith Ringgold, All Power to the People, 1970 Cut-and-pasted colored paper, pencil, and presstype on paper 30 × 20 in (76.2 × 50.8 cm) Private collection.
Faith Ringgold, United States of Attica, 1972. Offset lithograph, 21 5/8 × 27 3/8 in (55 × 69.6 cm). Courtesy the artist and ACA Galleries, New York.Slave Rape #1: Fear Will Make You Weak, 1972. Oil on canvas, fabric 89 ½ × 51 in (227.3 × 129.5 cm) Glenstone Museum, Potomac, Maryland.
Slave Rape #2: Run You Might Get Away, 1972. Oil on canvas, fabric 92 3/8 × 52 3/8 in (234.6 × 133 cm) Glenstone Museum, Potomac, Maryland.
Slave Rape #3: Fight to Save Your Life, 1972. Oil on canvas, fabric 92 × 50 7/8 in (233.7 × 129.2 cm) Glenstone Museum, Potomac, Maryland.
Faith Ringgold, The Invisible Princess, New York: Dragonfly Books, 1999; Aunt Harriet’s Underground Railroad, New York: Dragonfly Books, 1992. Ringgold’s books Tar Beach from 1991 (not pictured here) is based on the quilt work seen below.
Faith Ringgold, Woman on a Bridge #1 of 5: Tar Beach, 1988. Acrylic paint, canvas, printed fabric, ink, and thread, 74 5/8 x 68 ½ in. (189.5 x 174 cm). Solomon R. Guggenheim Museum, New York.
Transcript from the quilt (Woman on a Bridge #1 of 5: Tar Beach): “Sleeping on Tar Beach was magical. Laying on the roof in the night with stars and skyscraper buildings all around me made me feel rich, like I owned all that I could see. The bridge was my most prized possession. Daddy said the George Washington Bridge was the longest and most beautiful bridge in the world and that it opened in 1931 on the very day I was born. Daddy worked on that bridge hoisting cables. Since then, I’ve wanted that bridge to be mine.”
Faith Ringgold, Sonny’s Bridge, 1986. Acrylic on canvas with printed and pieced fabric, 84 ½ x 60 in. (214.6 x 152.4 cm). High Museum of Art.
Faith Ringgold, Picasso’s Studio: The French Collection Part I, #7, 1991 Acrylic on canvas, printed and tie-dyed pieced fabric, and ink, 73 × 68 in (185.4 × 172.7 cm). Worcester Art Museum, Worcester, Massachusetts.
Transcript from the quilt (Picasso’s Studio: The French Collection Part I, #7), paragraph 5: “Picasso’s first cubist painting was called barbaric, la mort, the death of art! But that didn’t stop him. In fact, it started le movement modern du art. The European artists took a look at us and changed the way they saw themselves. Aunt Melissa, you made me aware of that. “Go to Paris, Willia Marie,” you told me, “and soak up some that Africana they using in those cube paintings.”
Faith Ringgold, Dancing at the Louvre: The French Collection Part I, #1, 1991. Quilted fabric and acrylic paint, 73 ½ x 80 ½ in. (186.7 x 204.5 cm). The Gund Gallery at Kenyon College, Gambier, Ohio.
Transcript from the quilt (Dancing at the Louvre: The French Collection Part I, #1), paragraph 3: “Pierre used to say, “Cherchez le fauteuil roulant, just get a wheelchair at the door of the Louvre, ’cause if you don’t you’re gonna need one going home.” I’ve been to the Louvre a hundred times, but never have I seen it like this. It was like looking at the pictures upside down from a racing car going 100 kilomètres à l’heure.”
Faith Ringgold: American People Curated by Massimiliano Gioni, Gary Carrion-Murayari, Madeline Weisburg New Museum 235 Bowery, New York 17 Feb – 5 Jun 2022
