From 1984 to 2012, printmaker and professor Nancy Campbell ran the Mount Holyoke College Printmaking Workshop, where women artists like Kiki Smith and Vija Celmins produced remarkable prints.
In Against Our Will, Vivien Green Fryd makes a convincing case for the need to examine artworks through the lens of sexual trauma, a violent reality that unfortunately spans across gender, ethnicity, race, and time.
At London’s Serpentine Gallery, Faith Ringgold tells stories of race and self-discovery which have too often gone untold.
Home is Not a Place affords its artists a great degree of freedom to explore the nuances of “home.” The sum of their efforts amounts to a tapestry that threads love and dread into a cohesive whole.
Curatorial leadership with a focus on site and audience develops an inclusive art program without using quotas.
An impressive synthesis of influences, along with an obdurate resistance to being told what she can or cannot do, forms the bedrock of Ringgold’s art.
Why a truthful account of artistic development in the United States during the latter half of the 20th century must include the artists shown in this exhibition.
The most interesting part of this excellent exhibition is its presentation of black modernists, for here we enter relatively unfamiliar territory.
To Dream Avant-Garde acknowledges the artistic innovators of today — those who push the cultural status quo in their work.
This Thursday at the Brooklyn Museum, Faith Ringgold speaks about her prolific career from the 1960s to today.
It is a great irony that the Faith Ringgold’s first public commission was effectively imprisoned for over 40 years, but this situation raises valuable questions regarding our notions of the public and how that public is served.
We Wanted a Revolution at the Brooklyn Museum tracks the shape-shifting radicalism of black women artists, authors, filmmakers, dancers, gallerists, and public figures between 1965 and 1985.