It’s about damn time.

de Young Museum的某种程度上的“ Faith Ringgold：American People”是这位传奇的91岁艺术家和激进主义者的首个西海岸回顾展，其作品不仅记录了民权运动，而且想象一下在美国的约束之外的新方法种族意识形态。

在林戈尔德（Ringgold）方面，夸大其词并不是风险，林戈尔德（Ringgold）的艺术和行动主义一直形成反种族主义和女权主义的先锋，这一新展览中清楚地看到了这一事实，直到11月27日。

She “forever changed the history of American art and along the way transformed the institutions and the museums and the art system,” said curator Massimiliano Gioni, the artistic director of the New Museum in New York City, where the show originated.

林戈尔德（Ringgold）于1930年出生于哈林（Harlem），在一个丰富的黑人艺术社区中长大，并从她的女餐馆母亲威利·波西（Willi Posey）那里学到了缝纫技能，后来她将申请她著名的故事被子。在1950年代后期，她从纽约市城市学院获得了学士学位和硕士学位后，继续探索，从各种全球传统中取样，包括佛教桑卡绘画和立体主义，同时质疑西方传统的主导地位。

“ Faith Ringgold：美国人民”涵盖了艺术家从1962年到2010年的庞大而多样的作品，其中包括帆布绘画，故事被子和柔软雕塑的早期石油。If you’re familiar with Ringgold’s work, you may notice a few major omissions, such as her painting on American violence, “Die” (1967), or “Dancing at the Louvre” (1991), a quilt that can’t be transported safely at the moment.

档案材料记录了Ringgold的行动主义作为临时女性艺术委员会，黑人解放的女学生和艺术家的一部分，而革命中的女艺术家则伴随着艺术品，这反过来又引起了激进主义者的争论。1970年创建的“全部权力”是为了支持黑豹阅读“自由政治犯”，这只是最简单的例子。

在2022年，在新博物馆策展人加里·卡里恩·穆拉亚里（Gary Carrion-Murayari）的评估中，林戈德的作品（“同等措施”的著作 - “批判性和充满希望”）在2022年仍在争夺美国的身份以及现在的替代外观，可以咨询我们。

Gioni说：“现在是时候回到她和她的作品了，因为 - 作为真正的经典 - 它以永恒的美丽感颤抖着，再加上多年生的相关性和紧迫感。”

Ringgold’s work is at its most aesthetically gorgeous in the “Black Light Series.” Inspired by abstract painter Ad Reinhardt’s minimalist compositions that layer dark pigments so close in tone to be initially indistinguishable, Ringgold explored a palette nearly absent white pigment.

Ringgold没有经典的欧洲绘画调色板，它依赖于白色的搅拌机，因此能够使黑色皮肤充满活力和细微差别。在《黑灯系列＃12派对时间》（1969年）中，四个人物以毫不掩饰的欢乐张开，嘴巴舞动。在没有白色颜料的情况下，它们温暖的棕色肤色闪闪发光。

紧迫性凸显Ringgold的“美国n People Series,” which visualizes the uneasy race relations of the 1960s with deadpan faces on half-length figures staring at each other, staring at us. Drawing on Ringgold’s own experience on Martha’s Vineyard, “Between Friends” shows the failure of supposedly progressive white liberals to meet a Black woman’s gaze.

Six white men lined up like a phalanx don’t shy from confrontation in “American People Series #2: For Members Only” (1963). Their stony faces come from Ringgold’s memory of a visit to Tibbetts Brook Park in Yonkers, N.Y., with her Sunday school group, which ended with the men shaking sticks at the children and demanding they leave.

白人的力量是明显的。他们统治着画布。他们主导观众。我们分享林戈德的童年观点。就像毕加索的切片线一样，Ringgold的重型轮廓线标记了面部特征，可以简化面部，直到他们支持他们所拥护的简化主义思想。

Ringgold visualizes the uglier side of America many tried to keep hidden. Flat compositions of American flags, more overtly political than Jasper Johns’ impasto versions, demand attention. 1967’s gut punch of a painting, “The Flag is Bleeding,” speaks to ongoing American carnage. Oozing red stripes cut across the canvas and three frontal figures — a wounded Black man clutching his chest while holding a knife, a white woman and a white man with hands at his pockets reaching for a gun — all obscured by the flag.

She made another version in 1969 titled “Black Light Series #10 Flag for the Moon: Die N—,” with the command and epithet legible in the stars and bars. While the government pursued the moon, millions of impoverished Americans went hungry. This painting, featured in the “People’s Flag Show” protesting racism and the Vietnam War at Judson Memorial Church in 1970, led to Ringgold’s arrest for flag desecration.

In response, Ringgold made another flag. This one read “Judson 3” across atop the stripes in reference to the three artists who were arrested.

林戈尔德今年早些时候在接受采访时说：“您不一定会改变发生的事情，但我可以说出我的想法。”PBS。

除了记录周围的世界外，林格的作品还设想了更公正的美国。

“美国人民系列＃19：纪念黑色力量出现的美国邮票”（1967年）可视化政府对种族正义和黑人骄傲的庆祝。在1960年代的非裔美国人人口百分比的100个面孔上，其中10个面孔，字母拼写为“黑力”沿对角线。即使字母更大，也很难看到的是“白色力量”。它们的块状白色形式融合到网格本身的形状中。

“It speaks to the systemic nature of racism in this country and white supremacy and how it’s something that’s so much a fabric of our society we don’t really see it sometimes,” said de Young curator Janna Keegan.

在她的被子Ringgold或者说是最为直接ites alternative histories. Some imagine an invisible princess born in a cotton field under the protective arms of the Prince of Night. Others envision Black life in Paris in the 1920s through the character of Willia Marie Simone, an artist.

Simone has the chance to meet Vincent van Gogh in “The Sunflowers Quilting Bee at Arles: The French Collection, Part I, #4,” but surrounded by sunflowers, she’s busy quilting more sunflowers with eight other notable Black women – Ida Wells, Sojourner Truth, Harriet Tubman and Rosa Parks among them – and van Gogh must stand to the side with his small offering of sunflowers. European art history is present, but it need not be centered.

“I was giving myself the freedom to take another look at the possibilities of what life could be,” Ringgold said in thePBS interview。“我不必只是为了得到的东西而安定下来，尤其是在如此……令人不安的时候。”

“Faith Ringgold: American People”:绘画，纺织品和混合媒体。上午9:30-5：15下午星期二至周日。7月16日（星期六）开放。截至11月27日。免费 - $ 15。周六免费提供湾区居民。Young Museum，S.F。Hagiwara Tea Garden Drive 50415-750-3600。deyoung.famsf.org