Storytellers: Faith Ringgold + Aminah Robinson at Ringling College, Part 1

"People of the Book: Jericho Girl" (oil, watercolor and fabric) (2000)

Timing is everything. And there's both no better -- and no worse -- time for Ringling College's exhibit entitled "Storytellers: Faith Ringgold + Aminah Robinson."  On one hand, the exhibit appears at a time when the Black Lives Matter movement has led to an increased focus on the work of Black artists. (It's worth noting the exhibit was in process long before the protests of last summer.)  So the exhibit is timely as well as exciting. On the other hand, COVID makes it a bit difficult to get into the gallery and nearly impossible for the College to conduct the outreach this exhibit deserves. Having taken in the show this week, I wish everyone could see it. 

Unlike Faith Ringgold, Aminah Robinson was a name unknown to me until recently. Robinson's work combines folk art traditions learned from her parents with formal training from the Columbus College of Art and Design. Robinson's mother taught her weaving, needle and button work, and she learned how to make paper, books and a sculptural material called "hogmawg" from her father. Her desire to create struck at the tender age of three, when she would pretend to nap, sneak out a window and head over to a local recreation center where Mrs. Bray helped children make art from found objects. (Click here to read more.) She began to make her "real" art -- telling stories of her people -- at the age of nine. 

Like many artists, Robinson's work was inspired by her travels. In her "Sacred Pages: People of the Book" series, Robinson celebrates the diversity of faith in her cloth and rag paintings and drawings. Many of the works are done on deerskin parchment. (I wasn't able to learn whether Robinson made the fragile paper herself.) I loved her use of men's ties -- likely found in thrift stores -- to create the head covering of her "Jericho Girl." 

"Unwritten Love Letter Series: #138:  Zora Neale Hurston" (1989)

Robinson's "Unwritten Love Letters" series is wonderfully creative. Instead of a canvas, Robinson's work is done on an envelope she either received or found at a garage sale. Robinson would steam the envelope open, dye it, and then create a mixed media work celebrating an African-American woman. Some letters depict well-known women like Sojourner Truth and Rosa Parks; others feature lesser known (to me) names like artist and educator Lois Mailou Jones and civil rights activist Dr. Dorothy Height.

The mixed media letter shown here portrays Zora Neale Hurston, whom Robinson calls a "novelist, journalist, folklorist and critic." In addition to this description, the love letter lists some of Hurston's work, including "Their Eyes were Watching God."  

"Poindexter Series: The Chickenfoot Man" (mixed media) (1986)

A lifelong resident of Columbus, Ohio, much of Robinson's work depicts her life there. Her Poindexter Village series features images from Robinson's early days growing up in the Village, which was the first public housing project in the United States. The series also includes images of Blackberry Patch, the neighborhood that was demolished in the 1930s in order for Poindexter Village to be built. In case you're curious about "The Chickenfoot Man," there was an actual vendor who would hawk his treat by yelling, "Chicken on the foot! Get 'em-fo-day run!" These words are included in Robinson's multimedia work, which incorporates embroidery and buttons.