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PAINT ME A ROAD OUT OF HERE opens at Film Forum on February 7 and will run for a least two weeks. Click the button below to get your tickets today!
SHOWTIMES & TICKETS

Select screenings have Q&As and Special Guests

More to be announced soon
Friday, February 7, 7pm
co-presented by the New Museum and Women's Community Justice Association (WCJA)

Q&A with: Mary Enoch Elizabeth Baxter (participant, executive producer), Leah Faria (WCJA, participant), Lisa Phillips (New Museum), and Catherine Gund (director)

Moderated by: Linda Villarosa
Saturday, February 8, 7pm
co-presented with the Center for Art and Advocacy (CAA)

Q&A with: Mary Enoch Elizabeth Baxter (participant, executive producer), Jesse Krimes (CAA, artist), and Michelle Daniel Jones (participant, artists).

Moderated by: Catherine Gund (director)
Thursday, February 13, 7pm
co-presented by the Vera Institute of Justice

Q&A with: Catherine Gund (director) and film participants Mary Enoch Elizabeth Baxter (artist, executive producer), Nicole Fleetwood (curator, author), and Vincent Schiraldi (Maryland Secretary of Juvenile Services)

Moderated by: Anna Deavere Smith

New Trailer!

Paint Me a Road Out of Here (2025) [Official Trailer]

Profiles of film participants 

Mary Enoch Elizabeth Baxter and Leah Faria 

images by Clémence Polès for passerby
Meet Leah Faria
interview by Abigail Glasgow, edited by Meghan Racklin

"When the team behind Paint Me A Road Out of Here asked us to think about the painting by Faith Ringgold as part of the documentary, I automatically went back to where I was when it was in the Rose M. Singer Center. It wasn’t in plain sight. So, the first time I really saw it was when we went to the Brooklyn Museum with Mary. And we all analyzed it. The first thing that stood out to me was the images. Faith was so far ahead of her time, looking at careers that women could one day hold. People couldn't fathom it then. A woman as a police officer? A doctor? Not in the 70s. Seeing what she envisioned for us makes me think about today, and the roles that we play as advocates. She had a vision. So how could we fail? She paved the road for us. And I'm a very visual learner. If I see it, I'll never forget it. Faith was like a caped crusader, and that painting gave people hope. And the thing about it is, when you're in Rosies, you're dealing with so much trauma, you're dealing with going back and forth to court, you can't really see the hope in the painting. But now being outside, you can actually look and see where she was going with it, and why she put these images in a jail.

At the documentary’s premiere in D.C., I cried the whole time. Because I felt like Faith was talking to me. She was like an angel. In those situations, you feel like you're so broken. But her painting said this is only part of your journey. I always think about the metamorphosis. You go in broken, but you come out beautiful."

images by Clémence Polès for passerby
Meet Mary Enouch Elizabeth Baxter
interview by Abigail Glasgow, edited by Meghan Racklin

"One of the things I love most about Faith Ringgold’s art and practice is that she’s making visible what often gets ignored, like instances of horrific racial violence that went largely under reported by mainstream media. For instance, her iconic painting 'For The Women’s House', made in collaboration with women incarcerated on Rikers Island. What is often obscured is her fight to get the painting out of Rikers, because it no longer served its original purpose. I made a documentary about this in collaboration with Faith and Aubin Pictures. That painting is worth like $12 million, maybe more since her passing. And the people, mainly incarcerated women, who were part of that knowledge production, who helped create that work, aren’t getting any of those life-changing resources. It belongs to the Department of Corrections. The women inside didn’t even get a chance to interact with the art for decades. Rikers sent me a similar contract, then stalled on the project for over a year. Thinking about it is a little triggering. I turned down a lot of opportunities to pursue the project. It felt like purgatory most days. In the end, it didn’t make sense to put myself and the participants through the same shit again. I’m not trying to enrich a system that consistently dehumanizes people. They just want to make violence look pretty. But I'm confident that everything happens for a reason and am glad that the participants were eventually able to work with a different artist to produce a meaningful work of art despite unlivable conditions."

Things We Love

Installation view of Edges of Ailey. Whitney Museum of American Art, New York. 
Photo: Ron Amstutz
Edges of Ailey
Curated by Adrienne Edwards 
Whitney Museum of American Arts
Through Feb 9
Installation view: The Writing’s on the Wall: Language and Silence in the Visual Arts. Hill Art Foundation. Photo: Dan Bradica Studio
The Writing’s on the Wall: Language and Silence in the Visual Arts
Curated by Hilton Als
Hill Art Foundation
Through March 29, 2025

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