![]() The effectiveness of Ringgold’s insistence that her quilts be understood as art rather than craft remains unclear. After hearing Ringgold recount this experience, I found a new appreciation for her story quilts, exemplified in works such as Who’s Afraid of Aunt Jemima? (1983), Slave Rape Story Quilt (1985) and The Purple Quilt (1986), which mark a particular phase in her career. This ‘rejection’ precipitated Ringgold’s turn to the textile as an alternative surface upon which she could publish. ![]() ![]() During a public dialogue in 2019 African-American artist Faith Ringgold described her original publisher’s disappointment that the biography she had written did not recount experiences of subjugation – experiences Ringgold suspected were an expectation of her gender and race. ![]()
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