Stitching Stories: Faith Ringgold’s Quilts and Art of Activism 

Faith Ringgold portrait, Courtesy ACA Galleries NY and the background work, “The French Collection Part I, #4: The Sunflowers Quilting Bee at Arles” (1991). | Source: artlyst.com

Faith Ringgold, the African American multi-media artist who wove her spirit, voice, and vision into the fabric of our collective consciousness through her passion for quilting, passed away on April 13, 2024, at her Englewood, New Jersey residence. She was 93 years old. 

Raised against the backdrop of the Harlem Renaissance, Ringgold was exposed to the cultural vibrancy of her surroundings and the works of creatives that would later inform her artistic and activist endeavors. She would also witness the injustices that her community faced – from segregated schools to discriminatory housing. It was exposure to systematic racism and prejudice that permeated the lives of African Americans that would shape her into a formidable artist and advocate for Black culture. 

Anyone can fly. All you need is somewhere to go that you can’t get to any other way. The next thing you know, you’re flying among the stars.” — Faith Ringgold 

Harlem Roots and the Catalyst for Creativity 

Born in the vibrant heart of Harlem as Faith Willi Jones on October 8, 1930, Ringgold was raised during a period of profound cultural, social, and artistic innovation within the African American community. Her mother was a seamstress and designer while her father was a New York City sanitation worker. Thanks to a mother who nurtured her artistic talents and encouraged her creative pursuits, Ringgold gained a deep appreciation for the power of storytelling, discovering expression through drawing and painting. 

Ringgold aimed to study studio art at the City College of New York, only to be met by another form of social injustice, the gender-based inequality of the time, that would not permit her to enroll in the fine arts program. Empowered by the advice of a woman in the registration office, Ringgold enrolled in the School of Education and majored in art.  

Ringgold’s own family faced the cruel reality of the injustices faced by the Black community when her brother fell victim to racial violence. Wielding her artistic gifts, Ringgold confronted the complexities of race, gender, and identity with courage and a sense of purpose – allowing the loss of her brother and others in the Black community to reverberate through her work. Armed with formal training, Ringgold traversed the world of painting, sculpture, quilting, performance art, and literature, crafting works that would become a conduit for change that invited viewers to face uncomfortable truths. 

I had something I was trying to say and sometimes the message is an easy transmission and sometimes it’s a difficult one but I love the power of saying it so I’m gonna do it whether it’s hard or easy.” 

Faith Ringgold, The Flag is Bleeding #2, 1997. Photo Leila Macor/AFP Via Getty Images | Source: artnews.com 

Resistance and Remembrance: Art as Tools for Activism 

Ringgold used her creative skills and voice to advocate for a just and equitable society that is inclusive and compassionate. At the heart of Ringgold’s practice was the seamless melding of paint with fabric. Her iconic “story quilts” were sprawling narratives that offered poignant reflections of the African American experience. As Ringgold learned quilting from her mother, it was a deeply personal medium for her. A great-great-grandmother of hers made quilts while enslaved in the South on a plantation.  

Through works like Who’s Afraid of Aunt Jemima? (1983), Ringgold portrayed racial stereotypes, sparking conversations on cultural appropriation, representation, and power dynamics. A caricature of Black womanhood is depicted in her provocative Feminist Series, challenging the viewer to interrogate deeply ingrained stereotypes of Black women that have been ingrained throughout American history. The acrylic on canvas narrative quilt shows defiant and confrontational figures of Aunt Jemima emerging amidst the backdrop of intricate patterns and striking colors. The quilt work consists of 56 square panels, containing people, patterned fabric, and text. Ringgold reclaims agency over the representation of Aunt Jemima, the fictional Black woman named Jemima Blakely who was a strong matriarch – subverting the false narrative and “mammy” archetype perpetuated by racist stereotypes and challenging viewers to re-examine their preconceived notions of Black womanhood.  

As Ringgold’s first story quilt, Who’s Afraid of Aunt Jemima? not only forces us to face the uncomfortable truths surrounding society’s complicity in the perpetuation of harmful stereotypes but also serves as a powerful critique of the commercialization and commodification of Black culture.   

“American People Series #20: Die” (1967). A collection of Museum of Modern Art New York. Photograph: David Grossman/Alamy | Source: theguardian.com

One of Faith Ringgold’s most iconic artworks, American People Series #20: Die (1967), depicts racial tensions and violence during the Civil Rights Movement in America. Inspired by Pablo Picsso’s monumental painting Guernica of 1937, the painting depicts a chaotic scene with figures in fear and distress, symbolizing the struggle for equality and the consequences of societal unrest. Through bold colors and visceral imagery, Ringgold confronts viewers with the harsh realities of discrimination and injustice, urging them to confront the violence perpetuated by racial divisions in American society. 

Another of Ringgold’s work The Flag is Bleeding #2: The American Collection (1997) features a reinterpretation of the American flag, where the stripes are replaced with scenes depicting moments of struggle in African American history. In Ringgold’s Feminist Series, Ringgold challenges traditional gender roles to advocate for women’s rights, empowerment, and autonomy. Woman Free Yourself (1971) is part of a series of cut paper collages rooted in Black feminist activism. Inspired by Kuba design, Ringgold created four pieces, each with different words and colors. The titles, like “Freedom Woman Now” and “Women Free Angela,” serve as demands and affirmations, echoing the call for Black liberation. In “Woman Free Yourself,” the words face in all directions, emphasizing the importance of each word. Ringgold believed in both feminism and Black liberation, viewing them as intertwined struggles. The piece embodies a sense of responsibility and self-determination, reflecting Ringgold’s ethos. 

Through her potent imagery and narrative, Ringgold often sought to not only honor the memory of those who had fallen victim to racial violence and spark difficult conversations on the realities of social inequality but also to celebrate the triumphs of Black life in America. In the renowned Tar Beach (1988), the first quilt of five in Ringgold’s “Women on a Bridge” series of story quilts, Ringgold amplifies the African American exploration for empowerment and liberation. The work of acrylic paint, canvas, printed fabric, ink, and thread is a celebration of resilience, determination, and creativity despite the societal challenges and barriers. The monumental quilted masterpiece, portrays the protagonist Cassie Louise Lightfoot’s ability to wield her imagination and resourcefulness to transcend beyond the confines of her physical surroundings. On a sultry summer night in Harlem, 8-year-old Cassie explains in the text on the quilt that she can fly and is free to go wherever she wants for the rest of her life.  

Faith Ringgold, “Women on a Bridge #1 of 5: Tar Beach” (1988). © Faith Ringgold/ARS, NY and DACS, London, courtesy ACA Galleries, New York 2022 | Source: news.artnet.com

Advocating for Diversity and Inclusion in the Art World 

The activism and impact of Ringgold’s work reached beyond the canvas and the confines of her studio, as a painter, writer, speaker, and prolific multi-media artist. She spoke for the marginalized voices and battled against the systematic barriers of the traditional art world for decades. 

In 1999, Ringgold established the Anyone Can Fly Foundation which sought to provide resources, mentorship, and opportunities for aspiring artists. While Ringgold sought to create a more inclusive and equitable artistic landscape, she knew the current realities that the Black community often faced. Therefore, the foundation had a mission to showcase the diverse voices and perspectives of artists from the African diaspora to celebrate the richness of African American culture. Her dream was to cultivate, uplift, and empower the next generation of artists who would carry her legacy of both activism and creativity. The foundation was a holistic endeavor that not only provided financial support but also nurtured the artistic and personal growth of its recipients through workshops and educational programs. 

With a multi-decade career in art, as a teacher, an author, and a foundation dedicated to nurturing artistic talent, Ringgold leaves a profound legacy of creativity, activism, and innovation. Our farewell to Faith Ringgold reminds us of the power of potent imagery to inform through storytelling, the need for increased inclusion in the art world, and encouraged acts of empathy. We acknowledge the profound impact of truth-telling, allowing us to confront our unconscious participation in oppressive systems, hindering the realization of a truly equitable society for all. 

I am free to go wherever I want for the rest of my life.” — Faith Ringgold 

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