“As an artist, I want to tell my story of the times – what I’ve lived through; what we’re going through now. That way, when my quilts were hung up to look at, or photographed for a book, people could still read my stories. In Amsterdam, she visited the She quilted her stories to be heard, since at the time no one would publish the autobiography she had been working on. This does not mean I was poor and oppressed. “I’d get home, and people would be listening to the radio, but they hadn’t heard anything – and there’s blood on the streets!” She admits: “When I started painting the blood, it was scary. These two trips would later have a profound influence on her mask making, doll painting and sculptures. Faith Ringgold, The Flag is Bleeding #2 (American Collection #6), 1997. Ringgold’s mother, a talented seamstress and fashion designer, would later help her to develop the concept of ‘story quilts’: a portable alternative to large heavy canvases, ornately decorated, and updating a US folk-craft tradition with sharply modern statements.Mama Can Sing, Papa Can Blow #1: Somebody Stole My Broken Heart by Faith Ringgold, 2004Now aged 88, Ringgold speaks in warmly upbeat tones; she’s elegant yet steely, and also unmistakeably no-nonsense, exclaiming with a laugh: “In my family, there was no such thing as: ‘you can’t do that’… ‘yes, you can!’” In 1950, Ringgold became the first black scholar and woman to study art at the City College of New York (before her, only white men had been admitted to its ‘liberal arts programme’).Mainstream exclusion – and an eloquent, fearless response to it – has been a defining theme of Ringgold’s art. Ringgold began her painting career in the 1950s after receiving her degree.In 1972, as part of a commission sponsored by the Creative Artists Public Service Program, Ringgold installed Ringgold stated she switched from painting to fabric to get away from the association of painting with Western/European traditions.Ringgold went to Europe in the summer of 1972 with her daughter Michele. As an educator, she taught in the New York City Public school system and at the college level. ezra-jack-keats.org. Faith Ringgold was born the youngest of three children on October 8, 1930, in In 1950, due to pressure from her family, Ringgold enrolled at the In 1955, Ringgold received her bachelor's degree from City College and soon afterward taught in the New York City public school system.Ringgold also traveled to West Africa in 1976 and 1977. She began making mixed-media costumed masks after hearing her students express their surprise that she did not already include masks in her artistic practice.As many of Ringgold's mask sculptures could also be worn as costumes, her transition from mask-making to performance art was a self-described "natural progression".Ringgold has been an activist since the 1970s, participating in several Ringgold and Lippard also worked together during their participation in the group In a statement about black representation in the arts, she said: "In 1973, Ringgold began experimenting with sculpture as a new medium to document her local community and national events. Her high-profile fans include Oprah Winfrey, Bill Clinton and the late Maya Angelou. At school, she’d been struck by Horace Pippin’s 1942 painting John Brown Going To His Hanging, before finding out that Pippin was an African-American artist: the only one featured in her history books.“There was so much creativity around me: music, art, dance,” she tells BBC Culture. While Michele went to visit her friends in Spain, Ringgold continued onto Germany and the Netherlands. Faith Ringgold (born October 8, 1930 in Harlem, New York City) is a painter, writer, mixed media sculptor and performance artist, best known for her narrative quilts. “Just because they were political in their way, doesn’t mean that they accepted my visual expression,” she says.American People #15: Hide Little Children by Faith Ringgold, 1966 (Credit: 2018 Faith Ringgold/Artists Rights Society (ARS), New York, Courtesy Pippy Houldsworth Gallery, London)There’s a current trend for socially conscious kids’ storybooks; Ringgold was writing and illustrating her own decades ago, including the autobiographical Tar Beach (with its recurring motif of a young girl with unconstrained dreams – soaring high above New York’s rooftops), and historical epic Aunt Harriet’s Underground Railroad In The Sky (paying homage to heroic slave abolitionist/activist Harriet Tubman). We Came To Americaportrays the racial diversity and immigrant experience that really shaped the US.Even through its most unsettling themes, Ringgold’s art has always been pitched at the heart of the nation – whether she’s using a postage-stamp design to commemorate black power (1967), or displaying her work in public spaces: her larger-than-life jazz-dance frieze Groovin’ High(1987, inspired by Dizzy Gillespie) was shown above NYC’s High Line, and the joyous mosaic design of Flying Home appeared inside 125th Street subway station (depicting Harlem luminaries soaring past landmarks such as the Apollo Theatre).
“The ‘60s were so “It was very difficult, but I didn’t know anything else.
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