I first became interested in Faith Ringgold’s strategic marriage of art and activism in the 1960s—then an under-examined aspect of her project—while working on my dissertation. Just a couple of years ago, I was prompted to see her ambitious painting Die of 1967 with fresh eyes when a friend asked if it represented stages in a sequential narrative. That question prompted me to think more deeply about the painting’s formal and conceptual ambiguities and how they operated in the political, racial, and aesthetic discourses of its charged moment. As a result, Die and its reception figure in my book Radical/Chic: Race, Politics, and the Legacy of Social Realism in Art of the 1960s as a key example of the shifting dynamics by which racial politics influenced a politics of style.
—Anne Monahan, 2014-15 Postdoctoral Fellow at the Center for the Study of Modern Art / The George Washington University