Dancing at the Louvre
Dancing at the Louvre, from the series The French Collection, Part I; #1. Faith Ringgold. 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border.
Combining representational painting and African-American quilting techniques with the written word
The series tells the fictional story of Willa Marie Simone, a young black woman who moves to Paris in the early 20th century.
Drawing on her own struggle for recognition in an art world dominated by European traditions and male artists, Ringgold uses this narrative format to literally rewrite the past by weaving together histories of modern art, African-American culture, and personal biography. This practice reflects the shift toward postmodernism in art of the 1980s and 1990s.
Characteristic is her use of appropriation, narrative, biographical references, and non-Western traditions. Through these devices, Ringgold offers an alternative to the European and masculine perspectives that are prevalent in art history.
Ringgold’s story-quilting technique is important to meaning in her work.
Ringgold’s technique positions her work more in the world of folk art and craft than European traditions of fine art. Associated with women’s domestic work, quilt making has historically been important to maintaining female relationships.
Quilting is often done collectively, allowing women time to gather and have conversations away from men or others outside their community. Young girls watch and participate in the activity in order to learn family stories, cultural background, shared knowledge, and technical skills associated with their maternal and domestic roles.
Typical of much postmodern art, Ringgold’s work appropriates recognizable imagery and alternative artistic practices to offer critical cultural commentary. She challenges us to consider expectations of gender and race, as well as traditional expectations and values of what art might be. Through image and text, Ringgold rewrites history to make a place for women like herself in its historical development.
Combining representational painting and African-American quilting techniques with the written word
The series tells the fictional story of Willa Marie Simone, a young black woman who moves to Paris in the early 20th century.
Drawing on her own struggle for recognition in an art world dominated by European traditions and male artists, Ringgold uses this narrative format to literally rewrite the past by weaving together histories of modern art, African-American culture, and personal biography. This practice reflects the shift toward postmodernism in art of the 1980s and 1990s.
Characteristic is her use of appropriation, narrative, biographical references, and non-Western traditions. Through these devices, Ringgold offers an alternative to the European and masculine perspectives that are prevalent in art history.
Ringgold’s story-quilting technique is important to meaning in her work.
Ringgold’s technique positions her work more in the world of folk art and craft than European traditions of fine art. Associated with women’s domestic work, quilt making has historically been important to maintaining female relationships.
Quilting is often done collectively, allowing women time to gather and have conversations away from men or others outside their community. Young girls watch and participate in the activity in order to learn family stories, cultural background, shared knowledge, and technical skills associated with their maternal and domestic roles.
Typical of much postmodern art, Ringgold’s work appropriates recognizable imagery and alternative artistic practices to offer critical cultural commentary. She challenges us to consider expectations of gender and race, as well as traditional expectations and values of what art might be. Through image and text, Ringgold rewrites history to make a place for women like herself in its historical development.