By Carol Crown, Cheryl Rivers, Charles Reagan Wilson
ISBN-10: 0807834424
ISBN-13: 9780807834428
Folks paintings is likely one of the American South's most vital components of artistic fulfillment, and this entire but available reference info that fulfillment from the 16th century in the course of the current. This quantity of The New Encyclopedia of Southern Culture explores the various different types of aesthetic expression that experience characterised southern people artwork, together with the paintings of self-taught artists, in addition to the South's advanced courting to nationwide styles of folks paintings gathering. Fifty-two thematic essays research matters starting from colonial portraiture, Moravian fabric tradition, and southern people pottery to the South's wealthy quilt-making traditions, reminiscence portray, and African American vernacular artwork, and 211 topical essays comprise profiles of significant folks and self-taught artists within the region.
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Additional resources for The New Encyclopedia of Southern Culture, Volume 23: Folk Art
Sample text
Established in 1961 as the Museum of Early American Folk Arts, a name that limited folk art to a period of creation and seemed to concentrate on utilitarian decorative arts, the institution became the Museum of American Folk Art in 1966. In 2001 the museum adopted the name American Folk Art Museum to indicate more clearly its mission to display American art from all centuries as well as art made outside the United States. Major generalist museums also continue to refer to works in their collections as folk art, even as they define folk art as the art of self-taught artists.
In 1938, Cahill, the doyen of traditional folk art, organized the exhibition Masters of Popular Painting for the Museum of Modern Art. The exhibition surveyed the work of several contemporary self-taught artists, including John Kane, Joseph Pickett, Horace Pippin, and the lone southerner, Kentuckian Patrick Sullivan, alongside the art of 19th-century artists. In the show’s catalog, Alfred H. , MoMA’s director, described nonacademic art as one of the “major . . movements of modern art,” on a par with cubism and surrealism.
The sellers of a number of works of art had little information about makers. , but cannot with any certainty be attributed to a Tennessee maker. Although Rockefeller’s southern works, originally exhibited in the restored 18th-century Lowell-Paradise House at Williamsburg, impressed many FOLK ART OF THE AMERICAN SOUTH 13 viewers, including prominent southern museum professionals, Cahill had little time or inclination to draw attention to the work. He did not publish a catalog on the southern art he had collected, and the lost opportunity to challenge the common assumption that folk art was a creation of New England’s preindustrial golden age has undoubtedly had long-term effects.
The New Encyclopedia of Southern Culture, Volume 23: Folk Art by Carol Crown, Cheryl Rivers, Charles Reagan Wilson
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