"Faith Ringgold did not simply paint historyshe broke it open. She reached into the marrow of America's most violent foundations, pulled forth the bones, and demanded that we look. Her Slave Rape Seriesraw, spiritual, brutal, and incandescentremains one of the most courageous achievements in American art, a portal through which the full seismic force of her career becomes legible. Through these paintings, she forged a new language for Black womanhood, a new architecture for Black truth, and an entirely new horizon for artistic liberation."
"This is an experience that cracks open the conscience, demands a deep recalibration of how we understand art's capacity to confront and transform, and ultimately leaves you with the unmistakable realization that Ringgold's work is not merely to be admired but to be witnessed, absorbed, and revered. Created in 1973, the Slave Rape paintings were an audacious intervention into both American history and the art-historical canon."
Faith Ringgold created the Slave Rape Series in 1973 as an audacious intervention into American history and the art-historical canon. She inserted herself and her daughters into the bodies of enslaved women, collapsing time, identity, and memory into a single harrowing tableau. The paintings use cloth, color, and spiritual brutality to demand witnessing, absorption, and reverence rather than passive viewing. Ringgold refused emotional distance and the romanticization of the plantation, exposing the Black female body as central to historical truth. The Jack Shainman Gallery presentation functions as testimony, ceremony, and reckoning that recalibrates understandings of art's capacity to confront and transform.
Read at www.amny.com
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