Yet the show and book, Faith Ringgold: American People (which takes its title from the artist’s 1963 series, American People), also surveys her earlier work, and the wide variety of art she produced during later decades, when Ringgold questioned the received hierarchies of art and craft through her experimental quilt paintings, while also reimagining art history, to produce narratives that bear witness to the historical sacrifices and achievements of Black Americans.įaith Ringgold, American People Series #15: Hide Little Children, 1966. The exhibition, and accompanying Phaidon catalogue, will feature the artist’s work from the 1960s when, in combining her inimitable style of figure painting with the semiotics of the protest, she made some of the most powerful art of the Civil Rights era. This summer, The New Museum in New York will both deepen and widen our understanding and appreciation of this artist, when it stages Faith Ringgold: American People, the most comprehensive assessment to date of Ringgold’s art.

In hanging Die beside Les Demoiselles d’Avignon, MoMA acknowledged the undeniable importance of Ringgold, as an artist, author, educator, and activist, whose work serves as a link between the Harlem Renaissance of the early 20th century, the political foment of mid-century politics, and the work of young black artists practicing today. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY © Faith Ringgold / ARS, NY and DACS, London, courtesy ACA Galleries, New York 2021. The Museum of Modern Art, New York, Purchase and gift of The Modern Women's Fund. The picture at the top of Cotter’s article illustrated his point perfectly it showed the installation of Picasso’s 1907 masterpiece, Les Demoiselles d’Avignon, alongside an equally impressive work, American People Series #20: Die (1967) by Faith Ringgold.įaith Ringgold, American People Series #20: Die, 1967. Writing in the New York Times, the paper’s art critic Holland Cotter praised MoMA’s rehang as enabling to the museum to finally “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.” MoMA took the opportunity to rehang its collection, and in so doing, recontextualize its position within American culture. In October 2019 New York’s Museum of Modern Art reopened after a major refurbishment and expansion. Our book with The New Museum is the most comprehensive survey to date of the artist, whose work and activism span close to six decades

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