Ringgold, Dancing at the Louvre

Faith Ringgold’s Dancing at the Louvre is all about breaking the rules, and having lots of fun while doing it. Combining representational painting and African American quilting techniques with the written word, Dancing at the Louvre is the first in Ringgold’s series of twelve “story quilts” called The French Collection.

The series tells the fictional story of Willa Marie Simone, a young Black woman who moves to Paris in the early 20th century. Told through text written around the margin of each quilt, Willa Marie’s adventures lead her to meet celebrities such as Pablo Picasso and Henri Matisse, , , , and on the road to becoming an artist and businesswoman.

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. In deliberate contrast to modernism’s emphasis on autonomy and universal meaning, artists like Ringgold highlighted the implicit biases in accepted forms of art, especially in their treatment of race and gender. Characteristic is her use of , narrative, biographical references, and  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. She creates the central image using acrylic paint on canvas, reflecting her knowledge of Western art history in both style and subject matter, and surrounds it with a patchwork cloth border that includes her hand-written text. She then uses traditional quilting methods to sandwich a layer of by stitching the decorative front to the plain cotton backing.

She first developed this format in Who’s Afraid of Aunt Jemima?, a large quilt that transformed the marketing stereotype into Jemima Blakey, a successful Black businesswoman. Comprised of squares of fabric, painted portraits, and text, Ringgold’s quilt draws on Afro-Caribbean storytelling practices to create the Blakey’s family folklore. Made soon after the death of Ringgold’s mother Willi Posey (a seamstress and fashion designer in Harlem), the quilt also serves as personal tribute to the inspiration and creative skills she passed on to her artist-daughter.

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. Although quilts are common in a number of cultures, Ringgold’s African American heritage recalls their historical role, especially within the , to communicate codes and hidden messages that remain unrecognized by outsiders to the community.

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.

The transformative power of Ringgold’s message led her to translate her work into picture books for children. Her first Tar Beach (1991), based on a 1988 story quilt in the Solomon R. Guggenheim Museum in New York, received the 1992 Caldecott Honor Award. She has since published several others including Aunt Harriet’s Underground Railroad in the Sky (1992) and If A Bus Could Talk: The Story of Rosa Parks (1999) inspired by African American history and her own life story.

Produced on the occasion of the exhibition “Faith Ringgold: American People” at the de Young museum, and directed by LeRon Lee, this film tells the story of Black artist and activist Faith Ringgold, who has dedicated her life and artistic practice to amplifying the struggle for justice and equity of Black people in the United States and particularly of Black women. Filmed in New York, New Jersey, and San Francisco, this documentary features first-person accounts by Faith Ringgold herself, friend and scholar Lisa Farrington, Ph.D., and friend and gallery owner Dorian Bergen

Essay by Dr. Virginia B. Spivey