We Flew over the Bridge: The Memoirs of Faith Ringgold
In We Flew over the Bridge, one of the country’s preeminent African American artists—and award-winning children’s book authors—shares the fascinating story of her life. Faith Ringgold’s artworks—startling “story quilts,” politically charged paintings, and more—hang in the Studio Museum in Harlem, the Metropolitan Museum of Art, the Guggenheim Museum, the Museum of Modern Art, and other major museums around the world, as well as in the private collections of Maya Angelou, Bill Cosby, and Oprah...
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Paperback reprint of a book published by Little, Brown in 1995. African American artist Faith Ringgold narrates the events of her life from her childhood in 1930s Harlem to her stellar careers as both a best-selling children’s writer and well-respecPublishers WeeklyContemporary artist and children's book author Ringgold (Tar Beach) chronicles her efforts as a black woman, born in 1930s Harlem, in fighting sexism and racism to make her mark in the world. Her socially conscious paintings (The Flag Is Bleeding, 1967; Die, 1967), story quilts (Who's Afraid of Aunt Jemima? 1983) and various sculptures, dolls, masks and live performances have all received favorable review attention. The artist has also enjoyed a long and varied teaching career. Unfortunately, this portrait is filled with contradictions that often undermine Ringgold's sincerity and prevent her from establishing an emotional bond with the reader. Though she lists her activist stance in support of rights and opportunities for African Americans and, more broadly, for all women, her narratives fail to convey the passion of her described convictions. Ringgold stresses the importance of ``family'' and ``values,'' but her unconventional marriage, living and child-rearing arrangements do not reflect her good intentions. The end result reads like the sanitized diary of a self-absorbed woman. (Nov.)
\ From the Publisher“Bridging is the major motif of Ringgold’s life. . . . She is a bridge between the Harlem Renaissance and the civil rights era. She is a bridge between her mother’s applied art of fashion design and her own fine art of painting and story quilts. She is a bridge between the black power movement and the women’s movement. And she is a bridge between the abstract art that dominated the ‘60s and the issue-oriented art that connected with viewers’ hearts—and lives.”—Carrie Rickey, Philadelphia Inquirer\ “Faith Ringgold has already won my heart as an artist, as a woman, as an African American, and now with her entry into the world of autobiography (where I dwell), she has taken my heart again. She writes so beautifully.”—Maya Angelou\ “Faith Ringgold has created a rich and highly informative work not only of her own life as an American in general but as an African American in particular. These memoirs are a part of American history—of what it means to be an artist, a writer, and a philosopher in our society.”—Jacob Lawrence\ “Faith Ringgold’s exuberant and original art has made her one of America’s more important artists and a feminist heroine. Now her wonderfully honest memoirs will resonate with all political and creative women who are still fighting the battles Ringgold has won.”—Lucy Lippard, author of The Pink Glass Swan: Selected Essays on Feminist Art\ “In words that are as direct, honest, full of color and life as her paintings, Ringgold gives each reader the greatest gift of all—courage to be one’s own unique and universal self.”—Gloria Steinem\ “The story of Ringgold’s triumph—achieved through sheer determination, savvy, and self-conviction—is both accessible and inspiring.”—Lowery Stokes Sims, executive director, the Studio Museum in Harlem\ \ \ \ \ \ Publishers Weekly - Publisher's Weekly\ Contemporary artist and children's book author Ringgold (Tar Beach) chronicles her efforts as a black woman, born in 1930s Harlem, in fighting sexism and racism to make her mark in the world. Her socially conscious paintings (The Flag Is Bleeding, 1967; Die, 1967), story quilts (Who's Afraid of Aunt Jemima? 1983) and various sculptures, dolls, masks and live performances have all received favorable review attention. The artist has also enjoyed a long and varied teaching career. Unfortunately, this portrait is filled with contradictions that often undermine Ringgold's sincerity and prevent her from establishing an emotional bond with the reader. Though she lists her activist stance in support of rights and opportunities for African Americans and, more broadly, for all women, her narratives fail to convey the passion of her described convictions. Ringgold stresses the importance of ``family'' and ``values,'' but her unconventional marriage, living and child-rearing arrangements do not reflect her good intentions. The end result reads like the sanitized diary of a self-absorbed woman. (Nov.)\ \ \ Library JournalThis lively and delightfully written autobiography is set against a background of cultural and political upheaval. Ringgold's struggle to establish herself as a black artist and her need to define the meaning of a "woman's art" are the major themes found throughout this bookindeed, in all her projects. A talented painter, she is also known for her work in soft sculpture, textiles, masks, performance art, and writing children's books. Ringgold is represented in many public and private collections, ranging from the Metropolitan Museum of Art in New York City and Chicago's Harold Washington Library Center to Brooklyn's Crown Heights Public School 22. This book is well illustrated with family photos as well as examples of the artist's enormous output. Recommended for most public and art libraries and those with a special focus on feminist and African American studies.Margarete Gross, Chicago P.L.\ \
