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The story of Faith Ringgold--activist, author, academician--is an uplifting look at a progressive artist who overcame discrimination and triumphed as a giant figure in American art, notable as an accomplished painter, a sculptor, a printmaker, and an art quilter. She has never abandoned her goal of searching for human dignity and empowerment for fellow African Americans while tirelessly fighting against discrimination. Faith Ringgold is a captivating look at the personal and professional life of one of the country's most notable female artists. Selected works from several of her famous series are presented, including The Flag Is Bleeding, Help: the Slave Rape Series #11, The Purple Dolt Series, Mother's Quilt, and We Came to America. Lisa E. Farrington is a faculty member at Parsons School of Design in New York City, where she teaches art and race and gender issues. A former Mellon Foundation fellow and recipient of numerous academic awards and honors, she is the author of Creaing Their Own Image; African-American Women Artists (Oxford University Press, 2004) and Art on Fire; The Politics of Race and Sex in the Paintings of Faith Ringgold (Millennium, 1999).
Faith Ringgold (born 1930) is famed today as the progenitor of the African-American story-quilt revival of the late 1970s, but her story begins much earlier, with her American People Series of 1963. These once influential paintings, and the many political posters and murals she created throughout the 1960s, have largely disappeared from view, being routinely omitted from art historical discourse over the past 40 years. American People, Black Light is the first examination of Ringgold's earliest radical and pioneering explorations of race, gender and class. Undertaken to address the social upheavals of the 1960s, these are the works through which Ringgold found her political voice. American People, Black Light offers not only clear insight into a critical moment in American history, but also a clear account of what it meant to be an African American woman making her way as an artist at that time.
A strong collection of essays in a field hungry for texts Provides theoretical basis for a developing subject International - authors from US, Ghana, Uganda, Sierra Leone, and Nigeria Deals with important current issues - AIDS in Africa and the US; reproductive rights; the Anita Hill/Clarence Thomas controversy Four colour cover
This book includes some 200 complete entries from the award-winning Dictionary of Women Artists, as well as a selection of introductory essays from the main volume.
First Published in 1997. North American Women Artists of the Twentieth Century: A Biographical Dictionary was created to fill a gap of there being a comprehensive reference work like this available, even though the bibliography in English on various aspects of the history of women artists has grown exponentially during the past ten years. As researchers, the editors have been frustrated many times by being unable to locate basic information about many of the artists included in this volume—especially those working outside the United States. This leads directly to another reason for producing this particular kind of reference book—to try and create a better understanding between and among the artists and art audiences in these countries.
CORETTA SCOTT KING AWARD WINNER • CALDECOTT HONOR BOOK • A NEW YORK TIMES BEST ILLUSTRATED BOOK Acclaimed artist Faith Ringgold seamless weaves fiction, autobiography, and African American history into a magical story that resonates with the universal wish for freedom, and will be cherished for generations. Cassie Louise Lightfoot has a dream: to be free to go wherever she wants for the rest of her life. One night, up on “tar beach,” the rooftop of her family’s Harlem apartment building, her dreams come true. The stars lift her up, and she flies over the city, claiming the buildings and the city as her own. As Cassie learns, anyone can fly. “All you need is somewhere to go you can’t get to any other way. The next thing you know, you’re flying among the stars.”
The Cultural Power of Personal Objects seeks to understand the value and efficacy of objects, places, and times that take on cultural power and reverence to such a degree that they are treated (whether metaphorically or actually) as "persons," or as objects with "personality"—they are living objects. Featuring both historical and theoretical sections, the volume details examples of this practice, including the wampum of certain Native American tribes, the tsukumogami of Japan, the sacred keris knives of Java, the personality of seagoing ships, the ritual objects of Hinduism and Ancient Egypt, and more. The theoretical contributions aim to provide context for the existence and experience of personal objects, drawing from a variety of disciplines. Offering a variety of new philosophical perspectives on the theme, while grounding the discussion in a historical context, The Cultural Power of Personal Objects broadens and reinvigorates our understanding of cultural meaning and experience.
Creating Their Own Image marks the first comprehensive history of African-American women artists, from slavery to the present day. Using an analysis of stereotypes of Africans and African-Americans in western art and culture as a springboard, Lisa E. Farrington here richly details hundreds ofimportant works--many of which deliberately challenge these same identity myths, of the carnal Jezebel, the asexual Mammy, the imperious Matriarch--in crafting a portrait of artistic creativity unprecedented in its scope and ambition. In these lavishly illustrated pages, some of which feature imagesnever before published, we learn of the efforts of Elizabeth Keckley, fashion designer to Mary Todd Lincoln; the acclaimed sculptor Edmonia Lewis, internationally renowned for her neoclassical works in marble; and the artist Nancy Elizabeth Prophet and her innovative teaching techniques. We meetLaura Wheeler Waring who portrayed women of color as members of a socially elite class in stark contrast to the prevalent images of compliant maids, impoverished malcontents, and exotics "others" that proliferated in the inter-war period. We read of the painter Barbara Jones-Hogu's collaboration onthe famed Wall of Respect, even as we view a rare photograph of Hogu in the process of painting the mural. Farrington expertly guides us through the fertile period of the Harlem Renaissance and the "New Negro Movement," which produced an entirely new crop of artists who consciously imbued their workwith a social and political agenda, and through the tumultuous, explosive years of the civil rights movement. Drawing on revealing interviews with numerous contemporary artists, such as Betye Saar, Faith Ringgold, Nanette Carter, Camille Billops, Xenobia Bailey, and many others, the second half ofCreating Their Own Image probes more recent stylistic developments, such as abstraction, conceptualism, and post-modernism, never losing sight of the struggles and challenges that have consistently influenced this body of work. Weaving together an expansive collection of artists, styles, andperiods, Farrington argues that for centuries African-American women artists have created an alternative vision of how women of color can, are, and might be represented in American culture. From utilitarian objects such as quilts and baskets to a wide array of fine arts, Creating Their Own Imageserves up compelling evidence of the fundamental human need to convey one's life, one's emotions, one's experiences, on a canvas of one's own making.