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Faith Ringgold Self-Portrait

Faith Ringgold Self-Portrait
Usage Conditions Apply
Artist
Faith Ringgold, 8 Oct 1930 - 12 Apr 2024
Sitter
Faith Ringgold, 8 Oct 1930 - 12 Apr 2024
Date
1998
Type
Textile
Medium
Hand-painted etching & pochoir borders on linen with quilted cotton border and nylon backing
Dimensions
Quilt: 128.4 x 109.3cm (50 9/16 x 43 1/16")
Topic
Self-portrait
Decorative Arts\Textile\Quilt
Faith Ringgold: Female
Faith Ringgold: Visual Arts\Artist\Sculptor
Faith Ringgold: Visual Arts\Artist\Painter
Portrait
Credit Line
National Portrait Gallery, Smithsonian Institution
Restrictions & Rights
Usage conditions apply
Copyright
© Faith Ringold / Artists Rights Society (ARS)
Object number
NPG.2004.25
Exhibition Label
Born New York City
Faith Ringgold based her 1995 artist’s book, Seven Passages to a Flight, and this accompanying quilt, on memories of her Harlem childhood. Her mother, Madame Willi Posey, a fashion designer, taught Ringgold to sew at a young age. In the 1970s, the artist began creating innovative story quilts that draw inspiration from Tibetan tankas, African piece work, and African American quilts. Her textiles challenge traditional artistic hierarchies favoring painting and sculpture.
An activist for racial and gender equality, Ringgold used the bridge, which she could see from her tar-covered Harlem rooftop, to symbolize opportunity. For her, flying, a metaphor for overcoming challenges, “is about achieving a seemingly impossible goal with no more guarantee of success than an avowed commitment to do it.” Ringgold explains further in her children's book Tar Beach (1991), “Anyone can fly. All you have to do is have somewhere to go that you can’t get to any other way.”
Nacida en la Ciudad de Nueva York
Faith Ringgold basó su libro de artista Seven Passages to a Flight y esta colcha acompañante en recuerdos de su niñez en Harlem. Su madre, Madame Willi Posey, era modista y la enseñó a coser desde pequeña. En la década de 1970 empezó a crear “colchas narrativas” inspiradas en los tankas tibetanos, las telas africanas y las colchas de retazos afroamericanas. Estos trabajos cuestionan las jerarquías artísticas tradicionales que favorecen a la pintura y la escultura.
Defensora de la igualdad racial y de género, Ringgold usa el puente (que veía desde su azotea recubierta de brea en Harlem) como símbolo de oportunidades. Para ella, el vuelo representa la superación de los obstáculos, “lograr una meta que parece imposible sin más garantía de éxito que el compromiso manifiesto de hacerlo”. En su libro infantil Tar Beach (1991), explica: “Cualquiera puede volar. Todo lo que necesitas es querer ir a un lugar al que no puedes llegar de ningún otro modo”.
Data Source
National Portrait Gallery
Exhibition
20th Century Americans: 1960-2000
On View
NPG, South Gallery 342