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Author: Jane Livingston Publisher: ISBN: Category : Art Languages : en Pages : 196
Book Description
Forms from African and American popular arts, photojournalism, advertising, voodoo and the landscape reflect oral traditions of black culture: rural legends, popular history, Biblical stories, revivalism. No index. Annotation copyrighted by Book News, Inc., Portland, OR
Author: Jane Livingston Publisher: ISBN: Category : Art Languages : en Pages : 196
Book Description
Forms from African and American popular arts, photojournalism, advertising, voodoo and the landscape reflect oral traditions of black culture: rural legends, popular history, Biblical stories, revivalism. No index. Annotation copyrighted by Book News, Inc., Portland, OR
Author: Gerard C. Wertkin Publisher: Routledge ISBN: 1135956146 Category : Reference Languages : en Pages : 1583
Book Description
For a full list of entries, contributors, and more, visit the Encyclopedia of American Folk Art web site. This is the first comprehensive, scholarly study of a most fascinating aspect of American history and culture. Generously illustrated with both black and white and full-color photos, this A-Z encyclopedia covers every aspect of American folk art, encompassing not only painting, but also sculpture, basketry, ceramics, quilts, furniture, toys, beadwork, and more, including both famous and lesser-known genres. Containing more than 600 articles, this unique reference considers individual artists, schools, artistic, ethnic, and religious traditions, and heroes who have inspired folk art. An incomparable resource for general readers, students, and specialists, it will become essential for anyone researching American art, culture, and social history.
Author: Kristin G. Congdon Publisher: Bloomsbury Publishing USA ISBN: 0313349371 Category : Architecture Languages : en Pages : 789
Book Description
Folk art is as varied as it is indicative of person and place, informed by innovation and grounded in cultural context. The variety and versatility of 300 American folk artists is captured in this collection of informative and thoroughly engaging essays. American Folk Art: A Regional Reference offers a collection of fascinating essays on the life and work of 300 individual artists. Some of the men and women profiled in these two volumes are well known, while others are important practitioners who have yet to receive the notice they merit. Because many of the artists in both categories have a clear identity with their land and culture, the work is organized by geographical region and includes an essay on each region to help make connections visible. There is also an introductory essay on U.S. folk art as a whole. Those writing about folk art to date tend to view each artist as either traditional or innovative. One of the major contributions of this work is that it demonstrates that folk artists more often exhibit both traits; they are grounded in their cultural context and creative in the way they make work their own. Such insights expand the study of folk art even as they readjust readers' understanding of who folk artists are.
Author: Bill Traylor Publisher: Yale University Press ISBN: 0300081634 Category : Art Languages : en Pages : 212
Book Description
Bill Traylor, born into slavery in 1854, began to draw at the age of 82 in 1939 when he moved from the plantation where he was born to Montgomery, Alabama. He has become an almost mythical figure in the history of American folk art.
Author: Elaine Y. Yau Publisher: ISBN: Category : Artists Languages : en Pages : 383
Book Description
Sister Gertrude Morgan (1900-1980) has been variously celebrated as a unique voice of the southern United States, an "outsider" genius, a "black American" artist, and a quintessentially "American folk" artist of the twentieth century. We might grant these interpretative rubrics a few grains of validity: Morgan was born and raised in rural Alabama, spending her early adulthood in Columbus, Georgia before arriving in New Orleans, Louisiana. Her membership within African American Baptist and Holiness-Pentecostal churches endowed her with a religious vocabulary and expressive repertoire practiced by this worshipping community. Furthermore, her art demonstrates a preoccupation with her status as a "Bride of Christ," replete with exuberant colors and gestural immediacy intended to induct viewers into otherworldly, biblical realms about which Morgan preached. These categories, however, sustain a rhetoric that hinges upon a boundary between an implied center that names and a hyper-visible periphery that is named. Unifying these terms are slippery questions of social identity and authenticity. Rather than offer the final word about Morgan's art, this dissertation argues for the very permeability of the categorical boundaries that have been employed to understand her artistic production. Throughout my account, Morgan's life as a preacher, gospel performer, and painter is an exemplary case of modernity's vexed and reciprocal relationship with "the folk." First, it establishes Morgan as a creatively savvy artist who employed visual culture that was deeply informed by her Holiness-Pentecostal belief--rather than the isolated genius mainstream narratives construed her to be. Second, it argues for the central role of religion in constructing the Otherness endemic of Morgan's reception as a producer of "heritage," especially in the context of the New Orleans Jazz and Heritage Festivals in the 1970s. After establishing a social and religious history for her expressive repertoire, I attribute her art's movement within the post-WWII market to the multiple meanings audiences drew from Morgan's painterly expressionism, visionary speech, and performances of traditional culture. Third, I narrate Morgan's intersection with two other New Orleans artists--Noel Rockmore and Bruce Brice--to explore how these men's social positions inflected the designation "self-taught" with divergent meanings. My study concludes with a re-consideration of the Corcoran Gallery of Art's Black Folk Art in America, 1930-1980 exhibition that brought "black folk artists" into visibility in the 1980s. Through analyzing artworks and visual culture, sound recordings, oral history, and exhibition archives culled from collections throughout the American South, my dissertation ultimately argues that religious experience in "black folk art" was a form of visual modernity for African diasporic subjects that could dovetail with, but not be absorbed fully by, modernism's insistence on singular authorship, visual formalism, and secular values.
Author: Jane Livingston
Author: Jane Livingston
Author: Jane Livingston
Author: Faheem Majeed
Author: Geoffrey Gould
Author: Richard J. Powell
Author: 
Author: Gerard C. Wertkin![American Folk Art [2 volumes] PDF](https://books.google.com/books/content/images/frontcover/AxfOEAAAQBAJ?fife=w80-h100)
Author: Kristin G. Congdon
Author: Bill Traylor
Author: Elaine Y. Yau