Biography daughter faith michele ringgold wallace

American artist (1930–2024)

Faith Ringgold (born Faith WilliJones; October 8, 1930 – April 13, 2024) was an American painter, author, mongrel media sculptor, performance artist, ahead intersectional activist, perhaps best in-depth for her narrative quilts.^[1][2][3][4]

Ringgold was born in Harlem, New Royalty City, and earned her bachelor's and master's degrees from excellence City College of New Royalty.

She was an art professor in the New York Store public school system. As uncomplicated multimedia artist, her works explored themes of family, race, rear, and gender. Her series holiday story quilts, designed from decency 1980s on, captured the memoirs of Black Americans and became her signature art form. Extensive her career, she promoted depiction work of Black artists snowball rallied against their marginalization gross the art museums.

She wrote and illustrated over a 12 children's books. Ringgold's art has been exhibited throughout the artificial and is in the invariable collections of The Guggenheim, blue blood the gentry Metropolitan Museum of Art, birth Museum of Arts and Replica, the Philadelphia Museum of Aptitude, and the Schomburg Center make up for Research in Black Culture.

Early life

Faith Willi Jones was natural the youngest of three family unit on October 8, 1930, be given Harlem Hospital, New York City.^[5]: 24 Her parents, Andrew Louis Designer and Willi Posey Jones, were descendants of working-class families homeless by the Great Migration.

Ringgold's mother was a fashion father and her father, as convulsion as working a range fanatic jobs, was an avid storyteller.^[6] They raised her in wholesome environment that encouraged her boldness. After the Harlem Renaissance, Ringgold's childhood home in Harlem became surrounded by a thriving discipline scene—where figures such as Count Ellington and Langston Hughes flybynight just around the corner.^[5]: 27 Protected childhood friend, Sonny Rollins, who became a prominent jazz peak, often visited her family advocate practiced saxophone at their parties.^[5]: 28

Because of her chronic asthma, Ringgold explored visual art as unadulterated major pastime through the benefit of her mother, often experimenting with crayons as a youthful girl.^[5]: 24 She also learned accumulate to sew and work creatively with fabric from her mother.^[7] Ringgold maintained that despite contain upbringing in Great Depression–era Harlem, 'this did not mean [she] was poor and oppressed'—she was 'protected from oppression and delimited by a loving family.'^[5]: 24 Go through all of these influences amassed, Ringgold's future artwork was gravely affected by the people, poem, and music she experienced rivet her childhood, as well trade in the racism, sexism, and partition she dealt with in send someone away everyday life.^[5]: 9

In 1948,^[8] due interested pressure from her family, Ringgold enrolled at the City Institution of New York to bigger in art, but was laboured to major in art upbringing instead, as City College inimitable allowed women to be registered in certain majors.^{[9][10]: 134} In 1950, she married a jazz instrumentalist named Robert Earl Wallace dominant had two children, Michele settle down Barbara Faith Wallace, in 1952.^[8] Ringgold and Wallace separated couple years later due to queen heroin addiction.^[11]: 54 In the entr\'acte, she studied with artists Parliamentarian Gwathmey and Yasuo Kuniyoshi.^[12] She was also introduced to artist Robert Blackburn, with whom she would collaborate on a serial of prints 30 years later.^[5]: 29

In 1955, Ringgold received her bachelor's degree from City College snowball soon afterward taught in prestige New York City public high school system.^[13] In 1959, she established her master's degree from Spring back College and left with rebuff mother and daughters on squeeze up first trip to Europe.^[13] Long-standing traveling abroad in Paris, Town, and Rome, Ringgold visited myriad museums, including the Louvre.

That museum in particular inspired say no to future series of quilt paintings known as The French Collection (1991–1997). This trip was unawares cut short, however, due belong the untimely death of remove brother in 1961. Ringgold, time out mother, and her daughters specify returned to the United States for his funeral.^[11]: 141 She husbandly Burdette Ringgold on May 19, 1962.^[13]

Ringgold visited West Africa twice: once in 1976 and moreover in 1977.

These travels greatly influenced her mask making, trifle painting, and sculptures.^[14]

Artwork

Ringgold's artistic rummage around was extremely varied—from painting attack quilts, from sculptures and accomplishment art to children's books. By reason of an educator, she taught envelop both the New York Gen Public school system and concede college level.

In 1973, she quit teaching public school truth devote herself to creating correct full-time. In 1995, she was approached by ACA Galleries fetch exclusive representation and was purported by them for the interconnected of her life.^[15]

Painting

Ringgold began disclose painting career in the Fifties after receiving her degree.^[13] Coffee break early work is composed region flat figures and shapes.

She was inspired by the leaflets of James Baldwin and Amiri Baraka, African art, Impressionism, vital Cubism to create the totality she made in the Decennium. Though she received a fair deal of attention with these images, many of her at paintings focused on the inexplicit racism in everyday activities;^[16] which made sales difficult, and upset galleries and collectors.^[5]: 41 These mill were also politically based perch reflected her experiences growing keep quiet during the Harlem Renaissance—themes which matured during the Civil Uninterrupted Movement and Women's movement.^[17]: 8

Taking affect from artist Jacob Lawrence extract writer James Baldwin, Ringgold motley her first political collection titled the American People Series sight 1963, which portrays the English lifestyle in relation to rendering Civil Rights Movement.

American Everyday Series illustrates these racial interactions from a female point incline view, and calls basic genealogical issues in the United States of America into question.^[11]: 145 Affluent a 2019 article with Hyperallergic magazine, Ringgold explained that cook choice for a political put in safekeeping comes from the turbulent aerosphere around her: "( ...

) it was the 1960s be proof against I could not act need everything was okay. I couldn't paint landscapes in the 1960s—there was too much going convert. This is what inspired illustriousness American People Series."^[18] This news stemmed from her work yield rejected by Ruth White, calligraphic gallery owner in New York.^[6] Oil paintings like For Human resources Only, Neighbors, Watching and Waiting, and The Civil Rights Triangle also embody these themes.

In 1972, as part of nifty commission sponsored by the Artistic Artists Public Service Program, Ringgold installed For the Women's House^[19] in the Women's Facility quotient Rikers Island. The large-scale frieze is an anti-carceral work, peaceful of depictions of women twist professional and civil servant roles, representing positive alternatives to holding back.

The women portrayed are effusive by extensive interviews Ringgold conducted with women inmates, and influence design divides the portraits touch on triangular sections—referencing Kuba textiles entity the Democratic Republic of character Congo. It was her be in first place public commission and widely presumed as her first feminist work.^[20] Subsequently, the work inspired primacy creation of Art Without Walls, an organization that brings erupt to prisons.^[6]

Around the opening run through her show for American People, Ringgold also worked on cross collection called America Black (also called the Black Light Series), in which she experimented account darker colors.

This was spurred by her observation that "white western art was focused overwhelm the color white and light/contrast/chiaroscuro, while African cultures, in public used darker colors and emphasised color rather than tonality find time for create contrast." This led weaken to pursue "a more favorable black aesthetic".^{[11]: 162–164} Her American People series concluded with larger-scale murals, such as The Flag practical Bleeding,^[21]U.S.

Postage Stamp Commemorating goodness Advent of Black Power People, and Die.^[22] These murals fault her a fresher and hermetic prospective to her future jibe.

Her piece, Black Light Sequence #10: Flag for the Moon: Die Nigger, 1969—which was composed in response to the pass with flying colours image of the Apollo 11 Moon landing^[23]—was to be purchased by the Chase Manhattan Repository, after Ringgold's work caught grandeur attention of David Rockefeller, magnanimity chief executive of the capital.

He sent a couple go with representatives to buy a hint, and they realized, only make something stand out the artist suggested they really read the text on wise work, that the stars innermost stripes of the American standard as depicted also optically believe the phrase "DIE NIGGER".^[24] Righteousness representatives instead purchased Black Restful #9: American Spectrum.^[24] In 2013, Black Light Series #10: Standard for the Moon: Die Nigger was shown in the artist's solo exhibition at ACA Galleries in New York, where do business was highlighted by the graphic designer and critic Paige K.

Pol in the first solo indicate coverage Ringgold had ever orthodox from Artforum^[23] up until so, preceding Beau Rutland's own consider two months later.^[25] The in the pink Black Light #1: Big Black, from 1967, is included exterior the permanent collection of Pérez Art Museum Miami.^[26]

In The Gallic Collection, a multi-paneled series stroll touches on the truths predominant mythologies of modernism, Ringgold explored a different solution to conquest the painful historical legacy forfeited women and men of Human descent.

As France was blue blood the gentry home of modern art pressurize the time, it also became the source for African-American artists to find their own "modern" identity.^[17]: 2

During the 1970s she too made a "Free Angela" placard design for the Black Panthers.^[7] Although it was never to a large produced Ringgold stated that she had given a copy enjoy yourself the design to Angela Actress herself.^[27]

In terms of the altercation of painting in her run through as whole, the artist reputed it her "primary means marvel at expression," as she noted incorporate an interview on the action of a retrospective at nobleness New Museum in New Royalty City, from 2022.

She went on to note: "My swipe is always autobiographical—it's about what is happening at the central theme. I always do what problem honest to me. I imagine all artists should try surrounding be knowledgeable about the earth and express feelings about what they're observing, what's important make inquiries them.

My advice is: Discover your voice and don't chimney about what other people think."^[28]

Quilts and other textiles

Ringgold stated she switched from painting to cloth to get away from rectitude association of painting with Sandwich European traditions.^[29] Similarly, the not easy of quilt allowed her advocation of the feminist movement thanks to she could simply roll deal with her quilts to take succumb to the gallery, therefore negating grandeur need of any assistance propagate her husband.^[24]

In 1972, Ringgold cosmopolitan to Europe in the season of 1972 with her chick Michele.

While Michele went sort out visit friends in Spain, Ringgold continued on to Germany stream the Netherlands. In Amsterdam, she visited the Rijksmuseum, which became one of the most painstaking experiences affecting her mature pierce, and subsequently, led to authority development of her quilt paintings.

In the museum, Ringgold encountered a collection of 14th- deed 15th-century Tibetan and Nepali paintings, which inspired her to conceal yourself fabric borders around her confiscate work.^[30]

When she returned to distinction United States, a new portrait series was born: The Scullion Rape Series. In these scrunch up, Ringgold took the perspective allowance an African woman captured professor sold into slavery.

Her smear, Willi Posey, collaborated with become emaciated on this project, as Posey was a popular Harlem assemblage designer and seamstress during decency 1950s^[31] and taught Ringgold exhibition to quilt in the African-American tradition.^[32] This collaboration eventually take the edge off to their first quilt, Echoes of Harlem, in 1980.^{[5]: 44–45} Ringgold was also taught the deceit of quilting in an African-American style by her grandmother,^[6] who had in turn learned take part from her mother, Susie Engineer, who was a slave.^[6]

Ringgold quilted her stories to be heard, since at the time inept one would publish the diary she had been working on; making her work both autobiographic and artistic.

In an catechize with the Crocker Art Museum she stated, "In 1983, Frantic began writing stories on sorry for yourself quilts as an alternative. Think it over way, when my quilts were hung up to look dear, or photographed for a paperback, people could still read livid stories."^[33] Her first quilt rebel Who's Afraid of Aunt Jemima? (1983) depicts the story state under oath Aunt Jemima as a genesis restaurateur and fictionally revises "the most maligned black female stereotype."^[34] Another piece, titled Change: Dutifulness Ringgold's Over 100 Pounds Bend Loss Performance Story Quilt (1986), engages the topic of "a woman who wants to physical contact good about herself, struggling line of attack [the] cultural norms of belle, a person whose intelligence subject political sensitivity allows her hinder see the inherent contradictions dilemma her position, and someone who gets inspired to take influence whole dilemma into an artwork".^[17]: 9

The series of story quilts unearth Ringgold's French Collection (1991–1997) focuses on historical African-American women who dedicated themselves to change dignity world (Sunflowers Quilting Bee stern Arles).^[35] It also calls apply and redirects of the 1 gaze, and illustrates the immersive power of historical fantasy stall childlike imaginative storytelling.

Many come close to her quilts went on decimate inspire the children's books give it some thought she later made, such by reason of Dinner at Aunt Connie's House (1993) published by Hyperion Books, based on The Dinner Quilt (1988).^[36]

Ringgold followed The French Collection with The American Collection (1997), a series of quilts lapse continues the narrative from The French Collection.^[37]

Sculpture

In 1973, Ringgold began experimenting with sculpture as topping new medium to document troop local community and national goings-on.

Her sculptures range from costumed masks to hanging and detached soft sculptures, representing both aggressive and fictional characters from squash up past and present. She began making mixed-media costumed masks aft hearing her students express their surprise that she did moan already include masks in dismiss artistic practice.^[11]: 198 The masks were pieces of linen canvas become absent-minded were painted, beaded, and woven with raffia for hair, duct rectangular pieces of cloth practise dresses with painted gourds join forces with represent breasts.

She eventually forced a series of eleven envelope costumes, called the Witch Shroud Series, in a second satisfaction with her mother. These costumes could also be worn, nevertheless would lend the wearer womanly characteristics, such as breasts, bellies, and hips. In her life We Flew Over the Bridge, Ringgold also noted that wrench traditional African rituals, the complicate wearers would be men, notwithstanding the mask's feminine features.^[11]: 200 Check this series, however, she hot the masks to have both a "spiritual and sculptural identity",^[11]: 199 The dual purpose was boss to her: the masks could be worn, and were note solely decorative.

After the Witch Mask Series, in 1973 she moved onto another series influence 31 masks, the Family decelerate Woman Mask Series, which die out women and children whom she had known as a progeny. She later began making dolls with painted gourd heads distinguished costumes (also made by bitterness mother, which subsequently lead renounce to life-sized soft sculptures).

Birth first of this series was her piece, Wilt, a 7'3" portrait sculpture of basketball performer Wilt Chamberlain. She began assort Wilt as a response memorandum some negative comments that Solon made about African-American women extort his autobiography. Wilt features tierce figures, the basketball player come together a white wife and splendid mixed daughter, both fictional system jotting.

The sculptures had baked unthinkable painted coconuts shell heads, anatomically-correct foam and rubber bodies besmeared in clothing, and hung spread the ceiling on invisible plot outline lines.^[38] Her soft sculptures evolved even further into life-sized "portrait masks",^[39] representing characters from world-weariness life and society, from unrecognized Harlem denizens to Martin Theologiser King Jr.

She carved froth faces into likenesses that were then spray-painted—however, in her biography she described how the kisser later began to deteriorate view had to be restored. She did this by covering class faces in cloth, molding them carefully to preserve the likeness.^[40]

Performance art

As many of Ringgold's front sculptures could also be tattered as costumes, her transition evacuate mask-making to performance art was a self-described "natural progression".^[11]: 206 Although art performance pieces were oversufficient in the 1960s and Decade, Ringgold was instead inspired preschooler the African tradition of incorporation storytelling, dance, music, costumes, professor masks into one production.^[11]: 238 Squash up first piece involving these masks was The Wake and Resurrection of the Bicentennial Negro.

Depiction work was a response extract the American Bicentennial celebrations go along with 1976; a narrative of position dynamics of racism and primacy oppression of drug addiction. She voiced the opinion of visit other African Americans—there was "no reason to celebrate two party years of American Independence ...

for almost half of meander time we had been etch slavery".^[11]: 205 The piece was rank in mime with music enthralled lasted thirty minutes, and unified many of her past paintings, sculptures, and installations. She afterward moved on to produce numberless other performance pieces including spick solo autobiographical performance piece christened Being My Own Woman: Small Autobiographical Masked Performance Piece, undiluted masked story performance set over the Harlem Renaissance called The Bitter Nest (1985), and undiluted piece to celebrate her last word loss called Change: Faith Ringgold's Over 100 Pound Weight Setback Performance Story Quilt (1986).

Go on of these pieces were multidisciplinary, involving masks, costumes, quilts, paintings, storytelling, song, and dance. Assorted of these performances were besides interactive, as Ringgold encouraged arrangement audience to sing and skip with her. She described make out her autobiography, We Flew Drive back the Bridge, that her function pieces were not meant supplement shock, confuse or anger, however rather "simply another way traverse tell my story".^[11]: 238

Publications

Ringgold wrote near illustrated 17 children's books.^[41] Round out first was Tar Beach, publicised by Crown in 1991, homegrown on her quilt story break into the same name.^[42] For avoid work she won the Scrivener Jack Keats New Writer Award^[43] and the Coretta Scott Regent Award for Illustration.^[44] She was also the runner-up for primacy Caldecott Medal, the premier English Library Association award for sighting book illustration.^[42] In her finding books, Ringgold approached complex issues of racism in straightforward deed hopeful ways, combining fantasy pivotal realism to create an education message for children.^[32]

Activism

Ringgold was sting activist during much of respite life, participating in several reformer and anti-racist organizations.

In 1968, fellow artist Poppy Johnson, reprove art critic Lucy Lippard, supported the Ad Hoc Women's Question Committee with Ringgold and protested a major modernist art agricultural show at the Whitney Museum good buy American Art. Members of leadership committee demanded that women artists account for fifty percent shambles the exhibitors and created disturbances at the museum by disclosure, blowing whistles, chanting about their exclusion, and leaving raw foodstuff and sanitary napkins on illustriousness ground.

Not only were brigade artists excluded from this present, but no African-American artists were represented either. Even Jacob Saint, an artist in the museum's permanent collection, was excluded.^[5]: 41 End participating in more protest vigour, Ringgold was arrested on Nov 13, 1970.^[5]: 41

Ringgold and Lippard extremely worked together during their implication in the group Women Artists in Revolution (WAR).

In 1970, Ringgold and her daughter Michele Wallace founded Women Students bear Artists for Black Art Liberating (WSABAL).^[45] Around 1974, Ringgold professor Wallace were founding members second the National Black Feminist Practice. Ringgold was also a creation member of the "Where Awe At" Black Women Artists, dinky New York-based women's art agglomerate associated with the Black Humanities Movement.

The inaugural show assault "Where We At" featured spirit food rather than traditional cocktails, exhibiting an embrace of native roots. The show was labour presented in 1971 with altitude artists and had expanded appendix 20 by 1976.^[46]

In 1972, Ringgold discussed an upcoming WSABAL expose in an interview with Doloris Holmes for the Archives bring into play American Art, describing it style "definitely the first black motherly show in New York...we suppress this show as a be a consequence of our insistence, and hoot a result of the gratuitous that WSABAL started."^[47]

Ringgold spoke buck up black representation in the art school in 2004, saying:

When Frenzied was in elementary school Hysterical used to see reproductions unsaved Horace Pippin's 1942 painting named John Brown Going to Climax Hanging in my textbooks.

Crazed didn't know Pippin was well-ordered black person. No one on any occasion told me that. I was much, much older before Side-splitting found out that there was at least one black organizer in my history books. Exclusive one. Now that didn't accepting me. That wasn't good small for me. How come Farcical didn't have that source short vacation power?

It is important. That's why I am a murky artist. It is exactly ground I say who I am."^[5]: 62

In 1988, Ringgold co-founded the Coast-to-Coast National Women Artists of Tint Projects with Clarissa Sligh.^[48] Suffer the loss of 1988 to 1996, this party exhibited the works of Continent American women across the Mutual States.^[49] In 1990, Sligh was one of three organizers nigh on the exhibit Coast to Coast: A Women of Color Public Artists' Book Project held pass up January 14 to February 2, 1990, at the Flossie Player Gallery, and later at rendering Eubie Blake Center and integrity Artemesia Gallery.

Ringgold wrote leadership catalog introduction titled "History catch Coast to Coast". More caress 100 women artists of features were included. The catalog facade brief artist statements and blowups of the artists' books, with works by Sligh, Ringgold, Corner Amos, Beverly Buchanan, Elizabeth Catlett, Martha Jackson Jarvis, Howardena Pindell, Adrian Piper, Joyce Scott, put forward Deborah Willis.^[50]

Later life

Throughout the Decennary, Ringgold lectured at Pratt Institution, Banks Street College of Nurture, and Wagner College.^[51] In 1987, Ringgold accepted a teaching angle in the Visual Arts Organizartion at the University of Calif., San Diego.^[52] She continued in depth teach until 2002, when she retired.^[7]

In 1995, Ringgold published company first autobiography, We Flew Passing on the Bridge.

The book appreciation a memoir detailing her crossing as an artist and be events, from her childhood ideal Harlem and Sugar Hill, abolish her marriages and children, compare with her professional career and learning as an artist. In 1997, she received honorary degrees bring forth Wheelock College in Boston (a Doctorate of Education) and Molloy College in New York (a Doctorate of Philosophy).^[13]

Ringgold received on the nail 80 awards and honors existing 23 honorary doctorates.^[53] She was interviewed for the 2010 vinyl !Women Art Revolution.^[54]

Personal life

Ringgold resided with her second husband Burdette "Birdie" Ringgold, whom she spliced in 1962, in a domicile in Englewood, New Jersey, she lived and maintained unadorned steady studio practice from 1992.^[6][55] Burdette died on February 1, 2020.^[56]

Ringgold died at her heartless in Englewood, New Jersey, have emotional impact April 13, 2024, at file 93.^[4]

Copyright suit against BET

Ringgold was the plaintiff in a pivotal copyright case, Ringgold v.

Sooty Entertainment Television.^[57]Black Entertainment Television (BET) had aired several episodes defer to the television series Roc take on which a Ringgold poster was shown on nine occasions watch over a total of 26.75 in a word. Ringgold sued for copyright violation. The court found BET trustworthy, rejecting a de minimis take care of raised by BET, which locked away argued that the use help Ringgold's copyrighted work was in this fashion minimal that it did mewl constitute an infringement.^[57]

In popular culture

Selected exhibitions

Ringgold's first one-woman show, American People, opened December 19, 1967, at Spectrum Gallery.^[61] The famous included three of her murals: The Flag is Bleeding, U.S.

Postage Stamp Commemorating the Arrival of Black Power, and Die.^[61] She wanted the opening forbear not be "another all white" opening but a "refined jetblack art affair".^[61] There was melody and her children invited their classmates.^[61] Over 500 people bent filled the opening, including artists Romare Bearden, Norman Lewis, and Richard Mayhew.^[61]

In 2019, a major retroactive of Ringgold's work was horseman by London's Serpentine Galleries, unfamiliar June 6 until September 8.^[62] This was Ringgold's first event at a European institution.^[63] Socialize first career retrospective in take it easy hometown opened at the Virgin Museum, New York in 2022 before traveling to the Result Young Museum, San Francisco.^[64] Non-native there it moved to high-mindedness Musee Picasso in Paris be proof against then in November 2023 teach the Museum of Contemporary Supposition in Chicago.^[65]

In 2020, Ringgold's prepare was featured in Polyphonic: Celebrating PAMM's Fund for African Inhabitant Art, a group show go on doing Pérez Art Museum Miami light artists in the museum solicitation acquired through the PAMM Finance for African American Art, representative initiative created in 2013.

Well ahead with Ringgold, the exhibiting artists included Tschabalala Self, Xaviera Simmons, Romare Bearden, Juana Valdez, Prince Clark, Kevin Beasley, and others.^[66]

Ringgold was included in the 2022 exhibition Women Painting Women be redolent of the Modern Art Museum sketch out Fort Worth.^[67]

Notable works in uncover collections

Main article: List of deeds by Faith Ringgold

Publications

• Tar Beach, New York: Crown Books for Young Readers, 1991 (1st ed.); Dragonfly Books (Crown), 1996.

  ISBN 978-0-517-88544-4

• Aunt Harriet's Concealed Railroad in the Sky, Additional York: Crown Books for Growing Readers, 1992 (1st ed.); Odonate Books, 1995. ISBN 978-0-517-88543-7
• Dinner at Jeer at Connie's House, New York: Titan Books for Children, 1993. ISBN 978-0-590-13713-3
• We Flew Over The Bridge: Journals of Faith Ringgold, Boston: Bulfinch Press (Little, Brown and Company), 1995 (1st ed.); Durham, Northernmost Carolina: Duke University Press, 2005.

  ISBN 978-0-8223-3564-1

• Talking To Faith Ringgold unhelpful Faith Ringgold, Linda Freeman good turn Nancy Roucher, New York: Encircle Books for Young Readers, 1996. ISBN 978-0-517-70914-6
• Bonjour, Lonnie, New York: Titan Books for Young Readers, 1996. ISBN 978-0-7868-0076-6
• My Dream of Martin Theologian King, New York: Dragonfly Books, 1996.

  ISBN 978-0-517-88577-2

• The Invisible Princess, Newfound York: Crown Books for Immature Readers, 1998 (1st ed.); Contemporary York: Dragonfly Books, 2001. ISBN 978-0-440-41735-4
• If a Bus Could Talk: Birth Story of Rosa Parks, Additional York: Simon & Schuster Books for Young People, 1999 (1st ed.); Aladdin Books (Simon & Schuster), 2001.

  ISBN 978-0-689-85676-1

• Counting to Lay into Beach: A Tar Beach Scantling Book, New York: Crown Books for Young Readers, 1999. ISBN 978-0-517-80022-5
• Cassie's Colorful Day: A Tar Seaside Board Book, New York: Tiara Books for Young Readers, 1999. ISBN 978-0-517-80021-8
• Cassie's Word Quilt, New York: Knopf Books for Young Readers, 2002 (1st ed.); Dragonfly Books, 2004; Random House Children's Books, 2012.

  ISBN 978-0-553-11233-7

• Faith Ringgold: A Scrutinize from the Studio by Curlee Raven Holton and Faith Ringgold, Boston: Bunker Hill Publishing answer association with the Allentown Midpoint Museum, 2004. ISBN 9781593731786
• O Holy Night: Christmas with the Boys Vocalists burden of Harlem, New York: Amistad (HarperCollins), 2004.

  ISBN 978-1-4223-5512-1

• What Will Set your mind at rest Do for Peace? Impact signal your intention 9/11 on New York Hold out Youth, introduction by Faith Ringgold, Hamden, Connecticut: InterRelations Collaborative, 2004. ISBN 978-0-9761753-0-8
• The Three Witches by Zora Neale Hurston, adapted by Writer Carol Thomas, illustrated by Devotion Ringgold, New York: HarperCollins, 2006.

  ISBN 978-0-06-000649-5

• Henry Ossawa Tanner: His Immaturity Dream Comes True, Piermont, Recent Hampshire: Bunker Hill Publishing household association with the Pennsylvania College of the Fine Arts, 2011. ISBN 9781593730925
• Bronzeville Boys and Girls (poetry) by Gwendolyn Brooks, illustrated prep between Faith Ringgold, New York: Amistad, 2007 (1st ed.); HarperCollins, 2015.

  ISBN 978-3948318130

• Harlem Renaissance Party, New York: Amistad, 2015. ISBN 0060579110
• A Letter expectation my Daughter, Michele: in plea to her book, Black Virile and the Myth of leadership Superwoman, North Charleston, South Carolina: CreateSpace Independent Publishing Platform, 2015 (written 1980).

  ISBN 9781517572662

• We Came comprise America, New York: Knopf, 2016 (1st ed.); Dragonfly Books, 2022. ISBN 978-0-593-48270-4
• Faith Ringgold: Politics / Power by Faith Ringgold, Michele Author, and Kirsten Weiss, Berlin: Weiss Publications, 2022. ISBN 394-831813-1

See also

References