The Museum of American Folk Art New York City
TWO BEAUTIES FROM MAINE
Early 19th century yarn sewn on linen.
Late 19th century raised and clipped wool on burlap.
KELTER-MALCE
A•N•T-I•Q•U•E• S 361 Bleecker St / New York City 10014 / 212-989-6760
STEVE MILLER • AMERICAN FOLK ART •
THE JEWISH HERITAGE IN AMERICAN FOLK ART BY:
JOHN S. BLUNT (1798-1835) A New England Jewish family portrait by John S. Blunt, ca. 1830. 34" x 53"(sight), oil on wood panel. The gentleman holds "History of the Jews" in his left hand. For literature on Blunt, see: "The Clarion," Museum of American Folk Art, Spring 1980, pgs. 20-39. While portraits by Blunt are a rarity, triple portraits are doubly so and paintings of Jews of the period are seldom seen.
17 East 96th Street, New York, New York 10128.(212) 348-5219 Hours: 2 pm to 6 pm daily plus by appointment
Carved pine American eagle; 19th C.; all original. 23" H.; 38" W
Lynda D.Peters,Inc.
(401)934-1472 by appointment
N. Scituate, Rhode Island
When you visit our barn gallery in Moody, Maine you will see a small but choice stock of American folk art to include: naive oil paintings, country furniture & accessories and a superb selection of 19th century weathervanes. . . . We welcome dealers and collectors with similar tastes.
IDA MANKO KENNETH & P.O. BOX 20. MOODY,MAINE 04054. 207-646-2595
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THE TARTT GALLERY
CONTINUOUS INVENTORY INCLUDES WORKS BY
HOWARD FINSTER MOSE TOLLIVER SYBIL GIBSON JIMMY LEE SUDDUTH GEORGIA BLIZZARD CHARLIE LUCAS PAPPY KITCHENS LLOYD "BUZZ" BUSBY FRED WEBSTER BUTCH QUINN JOE LIGHT THORNTON DIAL THORNTON DIAL, JR. Z.B. ARMSTRONG RALPH GRIFFIN MARY T. SMITH DAVID BUTLER JAMES "SON" THOMAS ERIC CALVIN McDONALD JOSEPH HARDIN LONNIE HOLLEY J.B. MURRY JACK SAVITSKY LEROY ALMON
BUTCH QUINN,"Saw Owl," 1988, assemblage, 26" high
2017 Q STREET NW 4
•
WASHINGTON DC 20009
•
(202) 332-5652
Man's best friend, circa 1860-80, cast iron, New York or New England, 3' tall x 4' long.
ROBERT E.
kNNAMA MBAEKERS ,„ EAST HAMP7O1V, NEW YORK BY APPOINTMENT (516)537-0779
MAILING ADDRESS: Pa 1014, WAnsiscon: NEW YORK 11975 5
KATE AND JOEL KOPP
H
ERICA*
URRA
766 MADISON AVENUE • NEW YORK, N.Y 10021 • 212-535-1930
Cigar Store Indian Princess, circa 1875,in original paint. Inscribed A.H. Platt & Co., and Ultimatum.
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Exhibiting at the Winter Antiques Show
Ai l v AND JOEL KOPP
H
ERICA*
URRAH
766 MADISON AVENUE • NEW YORK, N.Y. 10021 • 212-535-1930
Baltimore Album Quilt, made by the master American Quiltmaker, Mary Evans,circa 1845,for Eleanor Gorsuch, Baltimore County, Maryland. 108" x 108."
These pieces will not be available prior to the show
Exhibiting at the Winter Antiques Show
Oil on canvas. 30%" x Inscribed "Drawn and Painted by James Bard N.Y.! 162 Perry St. NY"and dated 1859.
JAMES BARD 1815-1879
Painted for the ship's captain, John Townsend of Whitestone, New York,in 1859, the year the steamship Mattano was built. The ship was named for Chief Mattano of the Weequahic Indians of northern New Jersey. The Mattano ran from New York City to Shady Side and Astoria, New York. Captain Townsend saw active service during the Civil War commanding troop transports and hospital ships in both Northern and Southern waters. He enjoyed the distinction of being one of the best known and most respected steamboat pilots in the east.
These pieces will not be available prior to the show
Painted pine fireboard. Circa 1830. Attributed to the Maine mural artist and fresco painter, Jonathan D. Poor. Poor worked in the style of his uncle and mentor, Rufus Porter. 36" x 55!.'
NEW YORK. N.Y. 10021 •212-535-1930
(AMERICAN (ANTIQUESG,QUILTS BLANCHE GREENSTEIN • THOS. K. WOODARD • 835 MADISON AVENUE, NEW YORK, N.Y 10021 •(212)988-2906
•
. .......
. ..........
'Alphabet Quite.' Pennsylvania. Early Twentieth Century. 87 x 74 inches.
We are always interested in purchasing exceptional quilts and Americana, collections or individual pieces. Photographs returned promptly.
THE CLARION AMERICA'S FOLK ART MAGAZINE The Museum of American Folk Art New York City
Volume 14, No. 1
SPECIAL ISSUE
Alice .1. Floilmail
THE HISTORY OF THE MUSEUM OF AMERICAN FOLK ART
Winter 1989
36
An Illustrated Timeline
DEPARTMENTS Editor's Column
13
Director's Letter
23
Miniatures
24
Letters
30
Book Reviews
64
Developments
77
Major Donors
78
Museum News
83
New Membership
94
Index to Advertisers
96
Cover: Detail from Navajo Classic Child's Blanket; Artist unknown; Southwestern United States; Circa 1855; Ravelled bayeta wool; 30 x 50"; Gift of Warner Communications Inc., in honor of Ralph Lauren. The blanket is shown in full at left.
The Clarion is published four times a year by the Museum of American Folk Art,444 Park Avenue South, NY,NY 10016; 212/481-3080;Telecopier 212/545-1035. Annual subscription rate for members is included in membership dues. Copies are mailed to all members. Single copy $4.50. Published and copyright 1989 by the Museum of American Folk Art,444 Park Avenue South, NY, NY 10016. The cover and contents of The Clarion are fully protected by copyright and may not be reproduced in any manner without written consent. Opinions expressed by contributors are not necessarily those of the Museum of American Folk Art. Unsolicited manuscripts or photographs should be accompanied by return postage. The Clarion assumes no responsibility for the loss or damage of such materials. Change of Address: please send both old and new addresses and allow five weeks for change. Advertising: The Clarion accepts advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity ofobjects or quality ofservices advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages. The Museum is dedicated to the exhibition and interpretation offolk art and feels it is a violation of its principles to be involved in or to appear to be involved in the sale of works of art. For this reason, the Museum will not knowingly accept advertisements for The Clarion which illustrate or describe objects that have been exhibited at the Museum within one year of the placing of the advertisement. Winter 1989
11
THE CLARION Didi Barrett, Editor and Publisher Faye H. Eng, Anthony T. Yee,Art Directors Marilyn Brechner, Advertising Manager Willa S. Rosenberg, Assistant Editor Craftsmen Litho,Printers Nassau Typographers, Typesetters
MUSEUM OF AMERICAN FOLK ART Administration Dr. Robert Bishop, Director Gerard C. Wertkin, Assistant Director Cheryl Hoenemeyer, Controller Lillian Grossman, Assistant to the Director Mary Ziegler, Administrative Assistant Barry Gallo, Reception Jerry Torrens, Manager, Mailroom and Maintenance Collections & Exhibitions Elizabeth Warren, Curator Michael McManus,Director ofExhibitions Anne-Marie Reilly, Registrar Claire Hartman Schadler,Director ofthe Eva and Morris Feld Gallery Dawn A. Giegerich, Assistant Registrar Stacy C. Hollander, Assistant Curator ofCollections Joyce Hill, Senior Research Curator Mary Black, Consulting Curator Departments Didi Barrett, Director ofPublications Beth Bergin, Membership Director Marie S. DiManno,Director ofMuseum Shops Susan Flamm,Public Relations Director Barbara W. Cate, Director ofEducation Johleen Nester, Director ofDevelopment Edith Wise,Director ofLibrary Services Janey Fire, Photographic Services Eileen Jear, Development Assistant Willa S. Rosenberg, Publications Assistant Programs Barbara W. Cate,Director, Folk Art Institute Phyllis A. Tepper, Registrar, Folk Art Institute Dr. Marilyn Karp, Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman, Coordinator, New York University Program Cathy Rasmussen,Director, Great American Quilt Festival2 Karla Friedlich, Coordinator, Great American Quilt Festival 2 Irma J. Shore, Director, Access to Art Cecilia K. Toth, Kennetha R. Stewart, Co-Chairs, Friends Committee Mary Linda Zonana, Coordinator, DocentPrograms
errific Tramp. This diminutive, four drawer, lift-top, Tramp Art chest is exuberantly chip-carved and layered on all four sides. The top is carved and painted as an American flag. This is truly a masterpiece of American folk art. Ca. 1910-1930. 27H, 17'W, 111 / 2"D.
JAMES I BONNIE UDELL ANTIQUES IN NEW YORK CITY BY APPOINTMENT ONLY 212 840-1140
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Museum Shop Staff Dorothy Gargiulo, Caroline Hohenrath, Sally O'Day, Rita Pollitt, Managers Judy Baker, Sheila Carlisle, Elizabeth Cassidy, Florence Cohen, Rick Conant, Annette Ellis, Eli Gordon, Karen Johnson, Eleanor Katz, Annette Levande, Victor Levant, Dorothy Lichtman, Katie McAuliffe, Bettina Manheim, Nancy Mayer, Sandra Miller, Theresa Naglack, Pat Pancer, Marie Peluso, Lauri Seybert, Erika Sanders, Susan Shadbolt, Myra Shaskan, Rose Silece, Claire Spiezio, Doris Stack, Karen Taber, Mary Walmsly, Gina Westby, Doris Wolfson. Museum of American Folk Art Book and Gift Shops 62 West 50th Street New York, NY 10112 212/247-5611 Two Lincoln Square (Columbus Avenue between 65th and 66th) New York, NY 10023 212/496-2966 The Clarion
EDITOR'S COLUMN DID! BARRETT This issue of'The Clarion celebrates the opening of the Museum of American Folk Art's first permanent home, the Eva and Morris Feld Gallery at Two Lincoln Square. Since its founding in 1961, the Museum has had a peripatetic history. Yet, over the years the Museum has grown and flourished, despite the moves, the setbacks and the last two years as a"museum without walls!' The Museum of American Folk Art is known throughout the country for its fine traveling exhibitions program, its unique Book and Gift Shops and its successful licensing and reproductions program. No less important is The Clarion, which reaches a national readership of members, as well as many others who purchase the magazine in shops and newsstands nationwide. The opening this Spring of the Feld Gallery signals a coming of age not only for the Museum, but for the field of American folk art, as well. Folk art will have a spectacular new showcase in
the heart of New York City, indeed in one of the city's most dynamic and creative neighborhoods. And none too soon, for interest in folk art increases daily, it seems. For example, even as the Museum of American Folk Art readies its inaugural exhibition of highlights from the permanent collection — many of which toured the country and abroad while the Museum was without a home — two other prominent folk art collections will be on national tour for the first time. An exhibition of folk art from the Shelburne Museum in Vermont is touring until August 1990. And the Whitney Museum of American Art will be the first stop this January for the collection of the Abby Aldrich Rockefeller Folk Art Center in Williamsburg, Virginia. In a salute to the Museum of American Folk Art as it embarks on this exciting new era, this issue of The Clarion is devoted to an illuminating, comprehensive, illustrated history of
the Museum. The task ofproducing this retrospective fell to Alice Hoffman, a graduate of the Museum's Folk Art Institute, who may now know more about our colorful past than anyone — including Alice — would ever wish to know. After poring over back issues of The Clarion, old minutes, records and correspondence, and interviewing scores of current and former staff members, trustees, docents and others, she has compiled a remarkable timeline tracing twenty-seven years of the Museum of American Folk Art. Given the Museum's central role in the development of the field of American folk art over the past three decades, this study should be of interest not only to members and casual readers, but to future scholars, as well, as awareness of the field expands still further. We hope that all our readers will join us in celebrating the Museum with this special issue of The Clarion. •
AMERICAN PRIMITIVE GALLERY
uo MO 7.1
Aame Anton(212)239-1345
-Otpul
are carousel sculpture from Michigan with mouth animated by pulleys. Original paint. Length 24 inches. Winter 1989
13,
Folk Art Farm This fireboard, circa 1835, attributed to L.Johnston, will be included in our auction ofImportant Americana including Furniture,Folk Art, Folk Paintings,Porcelain and Silver to be held Friday through Saturday,January 27 through 28. For catalogues and more information, please call Nancy Druckman at(212)606-7225. Sotheby's, 1334 York Avenue, New York, NY.10021. Auction estimate:$25,000-35,000.
SOTHEBY'S
14 C Sotheby's, Inc., 1989 John L. Marion, principal auctioneer,8524728
FOUNDED 1744
JOSEPH YOAKUM 1 8 8 6 - 1 9 7 2 ANIMISTIC LANDSCAPES
Joseph Yoakum,View of the Arctic Ocean,ca. 1970. Watercolor and pen on paper. 12" x 18".
It is with great enthusiasm that the Janet Fleisher Gallery presents a one-person show of drawings by Joseph Yoakum. February 4—March 4, 1989.
Janet Fleisher GALLERY 211 South 17th Street PHILADELPHIA PA 1 9 1 0 3 215•545•7562
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PETER TILLOU FINE ARTS Prospect Street Litchfield, Ct. 06759 203-567-5706 Sanibel, Ha 33957 813-472-6794
SPECIALIZING IN: AMERICAN FOLK ART 18TH CENTURY AMERICAN FURNITURE AMERICAN AND EUROPEAN PAINTINGS
The Chairman in his favorite country bumpkin chair. 16
Outstanding American still life, circa 1870. Oil on canvas, 30" x 24","as found" condition.
Herrup
Wollner
12 East 86th St., New York, NY 10028 Iblephone:(212) 737-9051, Anytime by Appointment 17
Minnie Evans (1892-1987)
CONTEMPORARY SOUTHERN FOLK ART Representing: David Butler Rev. Howard Finster Clementine Hunter Sr. Gertrude Morgan and other important Southern artists
GASPER! GALLERY 831 St Peter Street New Orleans, LA 70116 (504)524-9373
"Untitled." crayon, acrylic / 2" x 111 / 2" on paper, 1947, 91 Photo: Gerard Murrell
STELLA RUBIN Quilts & Country Antiques 12300 Glen Road Potomac, MD 20854 (Near Washington, D.C.)
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By appointment
(301)948-4187
Original pattern quilt. Circa 1900
Pair of anonymous American portraits, c. 1840, oils on canvas in original hand painted and decorated 2 x 24 inches (canvas size). 1 dull red frames. 27/
All
Inquiries invited 704 North Wells Chicago 60610 (312) 943-2354
Alongerson
III.
Wunderlich
Ruth
Bigel
743 Madison Avenue, New York, NY 10021 Telephone 212/734-3262
Antiques
Specializing in Canton Porcelain, Fine Painted American Country Furniture, Weathervanes. Monday through Saturday, 11 am to 5 pm
THE
AMES GALLERY OF
AMERICAN
FOLK ART
2661 Cedar Street Berkeley, California 94708 415/845-4949
We specialize in exceptional 18th-19th Century handmade objects. Our extensive selection of quilts, carved canes, tramp art, folk paintings and sculpture are available for viewing. Phone for exhibit information, hours or appointment.
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Photo: Ben Blackwell
•
Howard Ortman, c. 1950
A unique pair of Album Quilts. C 1840. Baltimore, Maryland
One of the country's foremost collections of handmade American quilts from the 19th and 20th centuries Quilts bought and sold. Mon.—Sat. 10:30-6:30 or by appointment. Catalog available upon request $3.00
Quilts of America 431 East 73rd St., N.Y.C. 10021 212/535.1600
Rare 48" Running horse weathervane."Nelson? Late 19th century
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T
EXCT
30 EAST 76TH STREET, NEW YORK, NY 10021 212-439-6100
DAVID A.. StiHoRs(in
•Z3' Co. qt"
go4 ' „c•c',.._e
7,4
A Very Special Exhibition Focusing On Masterpieces Of American Folk Art, Painted Furniture And Shaker From Private Lenders And The Gallery Collection.
January 12 - February 25, 1989
E
Utt1
LETTER FROM THE DIRECTOR DR. ROBERT BISHOP
PAST AND FUTURE
Winter 1989
Reach project designed to take folk art to minority communities is under way as well. The Museum is also a publishing house. The Clarion has matured and is today considered the leading periodical in the field. In addition, each year a number of books are produced in association with commercial publishers. The Eva and Morris Feld Gallery, a Museum of American Folk Art branch, will open at Lincoln Square in April of 1989. With nearly 8,000 square feet of space committed to exhibitions, a fully developed exhibition program can be implemented. To facilitate the operation of this new gallery, the Museum offices and the Folk Art Institute will move to Harkness Plaza, 61 West 62nd Street, just three blocks from the gallery. Plans for the future do not stop here. Trustees and staff are working closely with architects and developers to finalize plans for our permanent headquarters on 53rd Street, between Fifth and Sixth Avenues. As we open the Eva and Morris Feld Gallery this spring we wish to share with you, our members, our past history and record our achievements. Without you the Museum of American Folk Art would not have survived. Thank you for being such an important part of our ever growing Museum family. Let's celebrate together! When Museum of American Folk Art Trustee Karen Cohen first suggested the possibility of a special Museum dinner honoring Ralph Lauren for his significant contributions to the field of American design, all the members of the Executive Committee of the Board of Trustees enthusiastically endorsed the notion. Mr. Lauren is the quintessential American designer and for many years has been internationally recognized for his achievements as a lifestyle designer. Sandy Smith, producer of the Fall Antiques Show agreed, and the Tenth
5
Trustee Karen Cohen, who chaired the benefit, with Ricky and Ralph Lauren. seepuom *J4 —1 :mom
Since the creation of the Museum of American Folk Art in New York City in 1961 by founding Trustees Joseph B. Martinson, Adele Earnest, Cordelia Hamilton, Herbert W. Hemphill, Jr., Marian Willard Johnson and Arthur M. Bullowa, this extraordinary institution has never enjoyed the luxury of a permanent home. At first the Museum occupied two rented parlor floor rooms over a sandwich shop on West 53rd Street. Next came the newly renovated Rockefeller carriage house which ultimately had to be abandoned to make way for real estate development. Since 1986 the Museum has been without its own walls. For most institutions this loss would signal a death knell. Fortunately a visionary Board of Trustees and a remarkable staff have been spurred by the limitations. Many of New York City's corporations provided exhibition space in their lobbies; galleries offered temporary exhibition space and the Department of Cultural Affairs hosted exhibitions several times. Few museums in America offer the rich variety of projects in their permanent locations and at the same time reach to all corners of the world with such comprehensive programming. The Museum of American Folk Art functions as a collecting, preserving and exhibiting museum. While most exhibitions originate in New York City, a significant part of our exhibition program is packaging shows for traveling tours. Education is the second major focus of this ever expanding organization. A Masters and Ph.D. program created by the Museum and jointly offered with New York University began in 1981. The Folk Art Institute, a fully accredited educational facility at the Museum, commenced in 1985. ACCESS TO ART'a comprehensive exhibition/publication project for the visually handicapped will present its first public programming this fall. The Art
Director Robert Bishop with Courtney and Steve Ross.
Anniversary Opening Night Preview mounted at the New York City Terminal Pier on October 19, culminated in a benefit dinner for the Museum. Courtney and Steve Ross and Warner Communications Inc. enthusiastically endorsed the effort and purchased for the Museum the remarkable Native American blanket shown in detail on the cover of this issue of The Clarion. Because the Museum has very little Native American material in the permanent collection the Rosses felt that the addition of a significant piece in honor of Ralph Lauren would be an appropriate acquisition. In the last several months the Rosses have made other substantial gifts including an outstanding applique quilt from Pennsylvania dated 1853 and a monumental painting by the contemporary American folk artist William Hawkins titled "Neil House!' 23
MINIATURES NEWS AND EVENTS FROM AROUND THE COUNTRY
Photo courtesy of the Colonial Williamsburg Fund
Pillieusdiu4 fotk 14tt Collectioft logos In preparation for a major renovation program which will add 19,000 square feet to its facility in Williamsburg, VA, the Abby Aldrich Rockefeller Folk Art Center has put 182 pieces of its fine folk art collection on the road. "Treasures of American Folk Art from the Abby Aldrich Rockefeller Folk Art Center" opens January 26 at the Whitney Museum of American Art in New York. It then proceeds to seven other stops around the country before returning to Williamsburg for the opening of the new $7 million addition, scheduled for Spring 1991. Kevin Roche of Kevin Roche John Dinkeloo and Associates is the architect. The collection of the Abby Aldrich Rockefeller Folk Art Center is based on some 400 objects given to Colonial Wil-
liamsburg in 1939 by Mrs. John D. Rockefeller, Jr., one of the small group of art enthusiasts who began collecting American folk art in the 1920s and 30s. Many of these pieces — examples of eighteenth, nineteenth and twentieth century folk art — have never left Williamsburg since they were donated. Despite Mr. Rockefeller's distaste for folk art — his taste ran to the Unicorn Tapestries, and he reportedly refused to let his wife hang folk art in the
24
41.
Fruit in Wicker Basket; Artist unidentified; American; Possibly 1840-1880; Oil on canvas;22 x 290".
family's living quarters — he built the museum to house her collection in 1957. The Center will be closed from January 1989 through the opening of the
new facility. Selected pieces from the collection will be on display at the DeWitt Wallace Decorative Arts Gallery in Williamsburg.
Angeles County Museum of Art, 5905 Wilshire Blvd., from February 16 through April 30, 1989...
uments recording the genealogy of individual families from 1800 to 1900 runs from January 30 through May 14, 1989 at the DAR Museum, 1776 D Street NW, Washington, DC. Also on view, recently acquired early American quilts, presented in three parts...
EtkiUtiog 4otoieup "An American Sampler: Folk Art from the Shelburne Museum" continues its seven-city tour with a stop at the Los
ilowatib liaste4 Vibe() The Rev. Howard Finster, Summerville, GA's most famous resident, and arguably, the most ubiquitous contemporary American folk artist, is now the subject of a new 20-minute video documentary called "Howard Finster: Man of Visions'? Presented without a narrator, the film wanders a bit, but Finster's engaging personality, some nice footage of the Paradise Garden, a survey of paintings, and a handful of interviews, most notably with art critic Jesse Murry, make the time go quickly. The film "Howard Finster: Man of Visions': won best documentary prize at the 1988 Redstone Awards in Boston and was a finalist at this year's Houston
0114-9F
Film Festival. It retails for $50.00, plus $3.00 shipping and handling. To order, contact No Hands Productions, 1331-C Olive Drive, Los Angeles, CA 90069, 213/654-2153. Howard Finster andfriend
Blue and white quilts from the collection of Gail BinneyWinslow and the New England Quilt Museum Collection from February 1 to March 19, 1989; and "Mary Schaefer Retrospective;' selections from the collection of Gwen Marston and Joe Cunningham from March 22 to May 7, 1989 at the New England Quilt Museum, 256 Market Street, Lowell, MA 01852,(617)452-4207...
"Americo-Liberian Folk Architecture:' 120 photographs which focus on the diffusion of architectural concepts from the American South to Liberia, in Western Africa, where a community of Black Americans emigrated in the nineteenth century. From January 24 through "Portraits Plain and Fancy, March 19, 1989, at the BalAmerican Portraiture, 1760- timore Museum of Art, Art 1840,from the Collection of the Museum Drive, Baltimore, Pennsylvania Academy of Fine MD.(301)396-6310... Arts" will be the exhibition presented by the Philadelphia An- "Coverlets: New Threads in Old tiques Show from April 7 to 12, Patterns': which explores the 1989, at the 103rd Engineers tradition of "overshot" covArmory in Philadelphia... erlets, runs from March 11 through April 23, 1989 at the "Family Record;' Quilts, Children's Museum in Oak samplers and illuminated doe- Ridge, TN. The Clarion
G72
MINIATURES
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When representatives of the city of Newark first sought the demolition of Kea Tawana's Ark in 1987,(The Clarion, Vol.13,No. 1), Tawana told supporters that she had ready a dozen consecutive plans for saving the 100-foot long, 40-foot wide wooden structure that she had singlehandedly constructed on a parking lot in the city's Central Ward. The past year saw a blizzard of press coverage, two petition drives and multiple court hearings — all for naught. In the spring of 1988, using an electric chainsaw, Tawana reduced the Ark to its lower deck and sold as firewood the enormous timbers she had salvaged for two de-
Old Sturbridge Village has begun a research project on the experiences of minority communities in rural New England during the early nineteenth century (1790-1850). The minority groups to be examined are AfroAmericans, Native Americans and fish. The first phase of the project was begun in Fall 1988 and entails a search for primary and secondary source materials. Printed materials, graphics, and manuscript collections which contain relevant materials will be identified and examined and their contents evaluated. This information will be incorporated into an annotated bibliography of source materials for future research. The second phase of the project, beginning in Fall 1989, will be a focused research effort utilizing some of the collections identified in the first phase. Any information regarding specific collections and their contents which may be appropriate to our research is welcome. Please send information to Myron 0. Stachiw, Research Department, Old Sturbridge Village, 1 Old Sturbridge Village Rd., Sturbridge, MA 01566.
rhoto• © cades from the city's ruined nineteenth century buildings. The Ark, now in the shape of a freighter, was still unable to be relocated, and Kea Tawana herself destroyed the remainder of her Ark by summer's end. By fall, Newark bureaucrats had moved to eliminate the other constructions that had shared the lot with the Ark. Kea Tawana, who has made the rescue of Central Ward remnants her life's work, is determined to hold her ground and refuses to abandon the inner city land-
scape she has claimed and transformed through sweat and imagination. "I would rather die defending my home, than to be robbed of all I have left, and freeze to death sleeping in someone's doorway this winter:' she wrote in a letter to supporters recently. Pressure from the city continued. As of this writing Tawana and her five vehicles found refuge through a group of Newark-based supporters who moved her ,to a new site elsewhere in the city. — C Holly Metz
hutkau 15tack Visiociay Atit "Another Face of the Diamond: Pathways Through the Black Atlantic South',' an exhibition of works by eleven Black Southern visionary artists, will be presented by INTAR Gallery, 420 West 42nd Street, New York City from January 23 through March 3, 1989. The exhibition, organized by curator Judith McWillie, looks at the work of these contemporary artists in an international context which reveals widespread African influences. The artists featured are Hawkins Bolden, Archie Byron, Thornton Dial, Sr., Minnie Evans, Ralph Griffin, Dilmus Hall, Lonnie Holley, Joe Light, Charlie Lucas,J.B. Murray, and Mary Tillman Smith. Artists Holley and Lucas, along with curator McWillie; John Mason, priest of the Yoruba Theological ArchminisWinter 1989
try of Brooklyn; Dr. Albert J. Raboteau, Department of Religious Studies, Princeton University; and Robert Farris Thompson, art historian and master of Timothy Dwight College, Yale University, will speak at a symposium entitled "A Covenant of Resistance: The
African Spiritual Legacy in Black Visionary Art" on Monday, January 23, 1989, at 6:00, following the opening reception. The symposium will be held in the INTAR auditorium, below the gallery. Admission is free. For further information call 212/695-6134.
Untitled; Mary T. Smith;1980s; Paint on sheetmetal;56 x 2 x 260".
toecomtits4 itla4sii4k Ells The Cooper-Hewitt Museum in New York City will be holding a family workshop for parents and children over ten to decorate and exchange Ukranian decorated eggs. Following a brief slide presentation and discussion of Ukranian legends and symbols, participants will create their own "pysanky"
using a stylus, beeswax and dyes. Classes are Friday, February 24, 1989, and Saturday, February 25, 1989, 10 a.m. to 4:30 p.m. Member's fee is $45 for adults; $25 for children. Nonmember fees are $65 for adults; $35 for children.
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MINIATURES
444eit4te 141404teig 4kstitute 014 f.4tity goutitems104toiat &hoe The Museum of Early Southern Decorative Arts in WinstonSalem, NC, together with the University of North Carolina at Greensboro will sponsor the fourteenth annual graduate Summer Institute entitled "Early Southern History and Decorative Arts" from June 25 through July 21, 1989. The program offers the opportunity for
the study of the decorative arts of the early South within an historical context. Emphasis this year will be on the material culture of the Carolina Low Country, focusing on the city of Charleston, and its surrounding region including the coastal areas of southeastern North Carolina, South Carolina and Georgia.
The program is based at the Museum of Early Southern Decorative Arts and will include a five-day field trip to Charleston and the Low Country. Persons with interest in material culture, history, American art,or museum studies,teachers in these fields, and museum professionals are encouraged to apply. Graduate credit in history
will be awarded. Enrollment is limited to twenty participants, and partial fellowships will be available to a limited number of applicants. The deadline for applications is April 20. For further information or applications, contact Sally Gant, Education Coordinator, Summer Institute, Museum of Early Southern Decorative Arts, Post Office Box 10310, WinstonSalem, NC 27108, (919) 721-7360.
41i 114essoy John B. (J.B.) Murray (also pression with his personal vispelled Murry) succumbed to sion. His work has been cancer at the age of 80 on exhibited nationally and is noted September 18, 1988 in rural for its complex visual composiGeorgia where he spent his life tion and "writing in the Spirit:' as a farmer until he began At the the age of 92, Tressa making art in the late 1970s. (Grandma) Prisbrey passed Murray's style synthesized tra- away in San Francisco on Ocditional African-Atlantic ex- tober 8, 1988. Best known for
$PotIt
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SPACES, the California-based organization committed to the preservation of contemporary folk art environments, has, for years, collected alternative terminology for the art form they study and save. The result is a brand new tee shirt with, count 'em, seventy-nine different expressions from "Anomalies" and "Art Brut" to "Untutored:' "Vernacular" and "Visionary:' Grey tee shirts with blue lettering, in sizes large and extralarge, are available for $12.00, plus $1.00 for postage, from SPACES,1804 North Van Ness, Los Angeles, CA 90028 (213/463-1629). Buy a tee shirt say the people 26
the creation of her Bottle Village in Simi Valley, CA, Grandma Prisbrey fashioned this environment from bottles containing a collection of shells, pencils, dolls and other found objects from the local dump. Bottle Village was built in the 1950s and 1960s on property originally owned by her but reluctantly sold in the 1970s after her husband's death. There is presently a fund drive to preserve the thirteen bottle buildings and install Grandma Prisbrey's collections there. This would be a true memorial.
texas font
at SPACES,and spread the word ...or words!
A hew lotktike" The telephone number for "Folkline;' the American Folklore Society/American Folklife Center weekly recording of employment and professional information, has been changed to 202/707-2000. As in the past, the "Folkline'' tape will be updated every Monday morning between 9 am and 12 noon, and will then run continuously until the next Monday morning.
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Lone Star Legacy: An Introduction to the Folk Art of Texas, a fourteen-minute slide-tape program containing 140 slides, is now available for a nominal fee to public schools, libraries, and service organizations in Texas. The program discusses and illustrates examples ofethnic, occupational, and regional traditions in Texas and is an excellent introduction to the folk culture
of Texas. The program consists of one slide carousel and cassette, designed for easy classroom use or projector/tape synchronizer. Scripts, slide lists and a teacher's guide are included. If you are interested in booking the program, please contact Betsy Peterson, Texas Folldife Resources, P.O. Box 49824, Austin, Texas 78765.
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David Butler • Sam Doyle An Important Collection of Early Works January 17 through February 3
We continue to be the exclusive representative ofthe work of William Hawkins. Appointment suggested 212•505 -1463/727•2470
"Nativity Screen" by David Butler
MARNA ANDERSON
american folk art • new york city • by appointment • 212 945-8484
Background:"Washday at Melrose Plantation" Appliqued Quilt by Clementine Hunter — "Home to the Lord," Mary T. Smith — "Alligator,"Raymond Coins — "Casket," James "Son" Thomas — "Kangaroo," David Butler — "Portrait of Woman," James "Son" Thomas — "Skull," James "Son" Thomas — "Painted Gourd," B. F. Perkins — "Turtle," Raymond Coins — "Abstract Flowers," Clementine Hunter. 28
Log Cabin Log Cabin, Ohio 1920
Antique quilts, hooked rugs, primitive and folk art, American paintings.
1611 Montana Avenue Santa Monica, Calif. 90403 (213) 393-1148
LUDY STRAUSS THE QUILT GALLERY
CHERISHABLES SI
1608 20th Street, NW, Washington, DC 20009 202-785-4087
C. M
LETTERS
MORE PLAIN SPEAKING
CONSTANCE ROBERTS CARVED PINE BUST WITH SEVEN WHISTLE FIGURES 16" HIGH
Wde AMERICAN FOLK AND OUTSIDER ART BY APPOINTMENT
834 B WESTMOUNT DRIVE LOS ANGELES CA 90069 213 . 657. 6369
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30
Recently a Manhattan gallery advertised its summer wares, work by contemporary American and European artists, in the following categories: Americans; Moderns;Portraits; Primitives; Pointillists; Europeans; and Neo-Realist (because there was only one of them). I mention this as evidence that, one, the taxonomy of art and artists is no easy business; and, two, when it comes to what's called American folk art, we are not badly off. The issue is less whether this or that designation is "right" or even the best one that might be had in the best of all possible worlds, than it is whether we have reason to believe, when we come upon a certain designation, that we know what it points to. On that score, American "folk" art is efficient enough. Even so, John Michael Vlach's argument in "Plain Painters"(The Clarion Vol. 13, No. 3) should not be dismissed out of hand. Vlach bundles three separate questions together: first, what is American "folk art:' or rather, what is American "folk" painting, since painting is his whole concern and since he sees the error ofour ways as that of misunderstanding, by mislabelling, a painterly tradition; second, how good are the paintings produced in the tradition; and, third, what should we call that tradition? His answer to the first question is unobjectionable; his answer to the second is muddled; and his answer to the third is a triumph of hope (as Samuel Johnson described second marriages) over experience, in this case the experience of anyone who has tried to overthrow es-
tablished usage on grounds that some other usage would get nearer the truth. In the struggle between established usage and shiny new labels, custom will win ninety-nine times out of a hundred. I will take Vlach's arguments one by one. The first can be dispatched quickly — and gratefully. It is useful to be reminded that there is a difference between, say, a weathervane and a portrait and that framed portraiture is in its origins the product of a culture and a class. American "folk" portraiture of the nineteenth century is equally the product of a culture and a class. It is an art of the American middle class, and Vlach describes it, accurately enough, as a "version of highstyle practice:' The American middle class aspired to emulate the manners if not the politics of the European aristocracy. There is no questioning that. Vlach's second argument, however, is another matter. It gravely simplifies problems of aesthetic value judgment and of artistic intention. "The most important question:' says Vlach, regarding such things as "faulty" perspective and anatomy in the portraiture, "is whether the artist produced them deliberately or accidentally:' Or, again: "If an artist's canvases repeatedly share the same traits, one can infer that limited palette or stiff gestures were intended and not merely accidental!' And: "If we can assume that plain painters, like most bearers of Western culture over the course of almost 500 years, knew that a painting was supposed to resemble what was being depicted, then any particular canvas may be interpreted as an attempt to reach that ideal:' On the matters at issue here, The Clarion
LETTERS
intentionality and the standards of resemblance, many thousands of pages have been spent by philosophers, critics, and theorists of different persuasions. Of all this Vlach appears perfectly innocent. Otherwise he could hardly have uttered so dogmatically the proposition that what matters most is whether an artist intended to create a "faulty" perspective, a proposition that conflates one doubtful claim, that intention is all, with another doubtful claim, that perspective can in a wholly objective sense be said to be faulty. Missing here is any sense of how perplexing the question of artistic intention and the role of convention really are. The extraordinary proposition that the mere recurrence of a "limited" palette or of "stiff" gestures indicates intention also implies an artistic intention to create what is limited or stiff, hence to create something that, by the implications of Vlach's vocabulary,is bound to be faulty — surely no artist's intention. And the guileless claim about the ideal of resemblance altogether neglects the question, in what does resemblance consist? Although the reading of American folk art as an anticipation of the modern lies open to the charge of being ahistorical, it is simply a fact that notions of resemblance were changing, or were soon to change, when these painters were at work; and that to understand the painters is surely to understand them as participants in the process of historical change. Confronted with puzzling phenomena in the history of culture, some observers look backward and explain whatever happens as the consequence of and sequel to what came before; others look ahead and see the Winter 1989
present as always moving into the future. Both are in their way right, and both have something to tell us about the interpretation of culture and its history. Finally, "folk art:' Granted, as a label for portraits and weathervanes and carousel animals, it is a catch-all. But I think it is true that we know what we are talking about when we use it. Therefore it passes the first, pragmatic test. It is a better label than "naive" or "primitive:' not because, as Vlach would have it, these carry pejorative connotations but because they have come to refer to other, quite specific traditions, specific in a way that "folk art" is not. Granted, further, the label may represent longings for an America that never was and a folk that never were. Yet there is such a thing as American experience, a very different thing from European experience. That difference, for better or worse, underlies the characterization of much artistic expression in the American nineteenth century and later as folk art. Finally, what would be achieved by legislating a new terminology? Mostly, I think, confusion. What Vlach calls the advantages of "plain painting" are more like disadvantages. As a new term, it would be hard to use. It is not, Vlach to the contrary, any more neutral in its connotations than "primitive:' "naive:' or "folk:' And the fact that "plain" is a homonym for "plane" is merely fortuitous, that is to say accidental, not a felicitous accident. Last of all, we would have to distinguish at every step between plain painting, folk art, and much else. Categories like American "folk art" are conveniences, ways of getting the job done. Greater refinement of understanding
From our inventory of American country furniture and Native American Art:
Chief's Style Navajo Weaving C. 1895 Folk Art Chest. C. 1909. hand-carved from Wisconsin 71"1-1 x 32"W x 133 / 4"D American Empire Chest of Drawers c. 1835. original smoke graining all original condition 49"H x 42"W x 20"D
JVlongerson kire Wunderlich 704 North Wells Street Chicago, Illinois 60610 (312) 943-2354
31
LETTERS
WE. Camochan, Professor of English Meier Family Professor and Director, Stanford Humanities Center Stanford University Stanford, CA
John Michael Vlach's essay on plain painting excerpted from his new book, Plain Painting: Making Sense OfAmerican Folk Art, raises some provocative questions. Unfortunately, his argument that the word "plain" is a more accurate term for "folk" painting fails to be convincing. Vlach's overall discussion of "non-academic" easel painting, as produced primarily in the northeast during the eighteenth and nineteenth century, has a patronizing, almost mean-spirited and pejorative tone and is marred by his use of half-truths. The result can only widen the chasm of misunderstanding be32
tween the folklorists' and the art Vlach uses selected quotations historians' approach to this ma- from art historians such as terial. Cahill, Ford and Flexner that are The problem of finding a exclusively negative in tone. more useful and thoroughly ac- This genre of paintings is decurate definition of "folk art" scribed as "second rate;' has been an issue for more than "having a low level of exper50 years. It is not clarified by tise:' "immature,' "inept:' and Vlach's choice of "plain!' One "artless!' Vlach selected Cahill's might easily be confused by the comments out ofcontext. Cahill author's suggestion in view of did indeed write that "the pecuthe elaborate and vividly de- liar charm of their work results tailed nature of many folk por- sometimes from what would be traits. The portrait of Mary technical inadequacies from the Abba Woodworth by Joseph academic point of view;' but Whiting Stock illustrated in Cahill, in his introduction to the Vlach's essay can hardly be con- 1930 catalogue American Primisidered plain as the figure stands tives, immediately follows with on a boldly patterned carpet, "they were not simply artists and is portrayed holding a bas- who lacked training. The work ket of fruit on one arm, a flower of the best of them has a diin the other hand and is sur- rectness, a unity, and a power rounded by other familiar items which one does not always find — a book, doll, cat and what in the works of standard masappears to be fashionable pillar ters!' Cahill goes on to say, "the and scroll styled furniture in the best of the portraits have "the same purity of line, clear color, background. In commenting on "non- and incorruptive honesty!' academic" easel painting, While technique is a vital
criterion in evaluating a work of art, it is not the only criterion, as Vlach appears to imply. Cultural, historical, and aesthetic considerations are important, as well. The issue of the communicative power of the best of this work within its own time and its ability to "speak" to future generations is not addressed by the author. Vlach's view of folk community seems curiously elitist and undemocratic, especially in view of his stubborn refusal to consider as a "folk group" the growing middle class from which the artists and their patrons came. These people, though not maintaining a "peasant" culture, shared traditions, religion, and community values and concerns; the easel paintings that were produced by limners for members of the community conformed to community standards. A less restrictive definition and narrow interpretation based on the European "yolk" models would seem more useful in categorizing folk painting. The Clarion is to be praised for printing Dr. Vlach's excerpt. Vlach's provocative thesis should induce thoughtful response from many folk art historians. Lee Kogan Shaskan Fellow Museum of American Folk Art New York, NY
QUERIES I am conducting research on an historical book about Nantucket Island and the development of the Nantucket Lightship Basket. At this point in my research The Clarion
Photo courtesy of the New Bedford Whaling Museum
within categories is important, hence the helpfulness of Vlach's reminder that painters and, say, woodcarvers differ from each other. But revolutions of terminology, like revolutions in the state, are hard to bring off and carry liabilities. If "folk art;' as a label that designates a very large area of American artistic expression, offends the folklorists, I can understand why. But one may also quarrel with their definition of "the folk;' which is not less driven by ideology than the version of American "folk art" criticized by Vlach. American folk art folks and folklorists have many interests in common, however. These include, above all, the belief that not all art is high art. That is a strong anchor, however rough the storms of terminology.
LETTERS
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I need illustrations/photographs of antique Nantucket baskets. If any of your readers have historical information or collections of baskets, I would be most pleased to talk with them. Any collector who is willing to allow his or her collection to be photographed for a book or any historical information that can be provided would be greatly appreciated. John McGuire 398 South Main Street Geneva, NY 14456 315/781-1251
I have recently received a National Quilting Association grant to study the use of American Indian designs and themes in quilts. This study also includes an analysis of quilts made by American Indians. I am an avid quilter with an academic background in anthropology, and I feel the utilization of Native American designs by quilters needs extensive documentation. A beginning survey of quilt books and past issues of quilt magazines has shown a use of Indian designs (pictorial and geometric) by quitters. I trust that detailed research will reveal the reasons for the selection, the source of the design, and any imitations or modifications of previously published designs. I would appreciate information about any quilts with Indian designs or themes or quilts made by native Americans. A full report of this project will be provided to the National Quilting Association for their permanent library. Dr. Joyce Mori 1214 Lincoln Avenue Ottawa, IL 61350 Winter 1989
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WISHES FULFILLED Enclosed is a check in the amount of $40 to cover the purchase of the Rand McNally Atlas of the United States listed on your "Wish List:' I am a new member of the Museum and am pleased to be able to contribute in this fashion. It is quite satisfying to know that even this modest amount will be enjoyed and utilized in a specific manner. Being a true bibliophile, it is my greatest pleasure to donate a book. I think your "Wish List" concept is an excellent one and look forward to being able to find something else to contribute from any future "lists" you might publish. My compliments to you all on The Clarion. As a writer and former magazine editor, I find it extremely well-written, interesting and simply beautiful in its design and quality of materials.
LATIN AMERICAN & HAITIAN FOLK ART
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Terri P. Epstein Pennington, NJ Editor's Note: Following this gift, Mr. and Mrs. Jonathan Epstein also contributed funds for the acquisition of the Rand McNally Cosmopolitan World Atlas, in memory of Arnold Raphel, American Ambassador to Pakistan who died in the airplane crash this Fall which also killed President Zia. The Museum is grateful for these thoughtful gifts.
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THE CLARION welcomes letters on all issues related to American folk art. Correspondence should be addressed to The Clarion, Museum of American Folk Art, 444 Park Avenue South, New York, New York 10016. Letters may be edited for length and clarity.
3chg. Mexico. Giant Judas figure. Painted papier rri.
131 SPRING STREET • NEW YORK, NEW YORK 10012 A (212)131-0111 minI .. 33
The Roslyn House ANTIQUES 69 Roslyn Road, Roslyn Heights, N.Y. 11577 (516) 625-0400 30 Minutes from Manhattan Adjacent to Historic Roslyn Village HOURS Tuesday thru Saturday 10:30 am to 5:00 pm or by appointment
1920's California whirligig from a private collection.
ANTIQUE QUILTS • FOLK ART • DECORATIVE ACCESSORIES • COUNTRY FURNITURE
H RISING STAR GALLERY SOUTHWEST
INDIAN
ART
AND
FURNITURE
92 FOREST AVENUE•LOCUST VALLEY. N.Y. 11560•(516)674-3306 34
Folk Art at Christie's Every year Christie's holds three major auctions of American furniture and folk art, attracting buyers from across the country. Record prices have been set for decoys, needlework pictures and primitive paintings. Let us put our knowledge and experience to work for you. To arrange an appointment to discuss buying or selling American folk art at auction, please contact John Hays orJan Wurtzburger at 212/546-1181, Christie's, 502 Park Avenue, New York, NY 10022. A fine and rare molded and gilt copper weathervane, American 19th century, sold at Christie's New York on October 1, 1988 for $71,500.
CHRISTIE'S NEW YORK
THE HISTORY OF THE
MUSEUM OF
NEWS Museum of Early American Folk Art receives provisional charter to establish a museum, library and educational center in New York City to foster, promote and increase the knowledge and appreciation of American folk arts. Unlike Abby Aldrich Rockefeller Folk Art Center, Henry Ford Museum or Shelburne Museum, this Museum is founded without a permanent collection, an endowment, or a building.
?62
NEWS
Museum is featured in article in The New Yorker, "New Museum"(Nov. 17, 1962). The reporter accompanies Joseph B. Martinson and Adele Earnest to Museum's first exhibition at Time & Life Exhibition Center. Martinson notes, "Museum has a threefold purpose: to display a permanent collection, to show temporary exhibits, and to create a study center and library pertaining to American folk arts. This has never been done in New York Earnest states, "Folk arts are not just antiques, they are works of art!'
Museum rents space at 49 West 53rd Street. Edward A. Bragaline, a collector of contemporary art and a distinguished fabric designer, volunteers to redesign space. First museum in New York City devoted to full-time display of American folk art is located one flight above street level. No elevator!
)63
NEWS
PEOPLE
Museum opens its doors to the public.
George Montgomery, previously with Museum of Modern Art, appointed Museum's first Director. Montgomery's master plan includes mounting a series of 7 loan exhibitions, assembling permanent collection through gifts and bequests, creating reference library of films, books and catalogues. According to Adele Earnest, "After an exhibit was decided upon, George filled out the loan forms, picked up the material in his car, lugged it up the steps and supervised the installation ... Every morning George swept down the steps, opened up the gallery... and closed the premises at night
Membership drive initiated. Angel Gabriel weathervane, owned by Trustee Adele Earnest, becomes Museum's emblem.
Darling Farm Flag Gate, first accessession
Friends of the Museum volunteer services: Howard Graff photographs the exhibitions: Betty Chamberlain heads up publicity; Walter Lewisohn initiates film library by recording two shows; and, Millia Davenport Harkavy, an authority on costume design, catalogues all reading materials.
64
NEWS
PEOPLE
Permanent collection grows but Museum continues to emphasize loan exhibits from New York and other parts of the country.
George Montgomery resigns. Mary Black, former Director and Curator of Abby Aldrich Rockefeller Folk Art Collection (now Center), hired as Director. Under her leadership Museum establishes reputation for exciting, educational exhibitions. Charles M. Grace, Edward A. Bragaline, and Louis Bowen join Board of Trustees. At Black's request, Herbert Waide Hemphill, Jr. resigns from Board of Trustees and becomes Museum's first Curator.
36
The Clarion
AMERICAN FOLRART AN ILLUSTRATED TIMELINE
by Alice J. Hoffman
PEOPLE Founding Trustees include Joseph B. Martinson, President; Marian Willard (Mrs. Dan R.) Johnson, Vice President; Arthur M. Bullowa, Legal Counsel and Treasurer; Herbert Waide Hemphill, Jr.; Cordelia Hamilton; and Adele (Mrs. Joel) Earnest.
PEOPLE
SPECIAL EVENT
EXHIBMON
Esther (Mrs. Samuel) Schwartz joins Board of Trustees.
Opening night gala dinner party for Museum's first exhibition hosted by Mr. and Mrs. Henry Luce for one hundred guests includes Mrs. Vanderbilt Webb; Alice Winchester, editor of the Antiques Magazine; Roy Moyer, director of the American Federation of Arts; Oliver Jensen and Joan Kerr from the magazine American Heritage; Sterling Emerson, director of Shelburne Museum; Dr. Louis C. Jones, New York State Historical Association; William Warren, Old Sturbridge Village; Lloyd Goodrich, Whitney Museum of American Art; Mitchell A. Wilder, Amon Carter Museum, TX; Dr. Richard P. Wunder, National Collection of Fine Arts, Washington, DC; Roy R. Neuberger; Harry Shaw Newman; James Grote VanDerpool and Jean and Howard Lipman.
Museum mounts first exhibition."INITIAL LOAN EXHIBITION" at Time & Life Exhibition Center, a public space in the Time & Life Building PO/5-11/18/621. Sponsor: Life Magazine. Curators: Mary Allis and Herbert Waide Hemphill,Jr. Checklist accompanies exhibition of borrowed objects — wood sculpture, carousel and circus figures, decoys, weathervanes and oil paintings and watercolors. 50,000 visitors attend the exhibit during its six week run. Time magazine reported, "If there was one fault with the show, it was this: it would be hard to bear
PERMANENT COLLECTION First major acquisition: Herbert Waide Hemphill, Jr. donates Darling Farm Flag Gate.
PERMANENT COLLECTION
SPECIAL EVENT
Lord & Taylor sponsors dinner dance for the benefit of the Museum. Proceeds make purchase of 9foot tall St. Tammany Indian weathervane a reality! Museum's first story front window must be removed each time Tammany leaves the Museum. While a breathless crowd watches, Tammany is hoisted through the air and lowered to a waiting truck. He causes quite a stir!
The Knoedler Gallery, NYC, holds exhibition preview of "Twentieth Century Masters From the Bragaline Collection; for the benefit of Museum.
The Four Salter Children anonymous portrait, loaned by Edgar William and Bernice Chrysler Garbisch
MUSEUM EXHIBITIONS "FOLK ART FROM PRIVATE COLLECTION719/27-11/24/631. Curator: George Montgomery. Checklist accompanies exhibition. "TOYS AND AMUSEMENTS7[12/3/63-3/2/641. Curator: George Montgomery. Checklist accompanies exhibition.
MUSEUM EXHIBITIONS "THE AMERICAN IMAGE"19/18-12/31/641. Curator: George Montgomery. Checklist accompanies exhibition. Exhibition features carvings of U.S. President and other political figures and symbols. "SANTOS/THE RELIGIOUS FOLK ART OF NEW MEXICO" D2/20/69-1/24/651. Curator: Mary Black. Catalogue: Santos: An Exhibition ofthe Religious Folk Art ofNew Mexico, by George Kubler, published byAmon Carter Museum of Western Art,Fort Worth, TX, 1964. Exhibit features first NY exhibition of Santos since Museum of Modem Art show in 1943. Winter 1989
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1965
PERMANENT COLLECTION Adele Earnest, a founding Trustee, makes an outright gift of Angel Gabriel weathervane.
NEWS
PUBLICATION
Museum investigates possibility of relocating to South Street Seaport. Building selected. Expense proves too great, plans abandoned.
Director Mary Black recounts in American Museum of Natural History publication, Curator, (Vol. IX, No. 2), the Museum and folk art world history. Museum reprints the article as 13-page catalogue entitled, At the Sign of Gabriel, Flag, or Indian Chief.
Advisory Committee established to aid Trustees and Director in carrying forward Museum's programs. Search for members begins. PEOPLE Dorothy C. Miller(Mrs. Holger) Cahill, Lincoln Kirstein, Nancy (Mrs. Norman) LassaIle, Jean (Mrs. Howard) Lipman and Helen Davis (Mrs. Andrew) Norman join Board of Trustees.
1966
SPECIAL EVENT Museum holds "My Fair Lady" theater benefit and raises over $5,000.
Angel Gabriel weathervane
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NEWS Museum's charter made permanent in recognition of the Museum's "usefulness and character:. Name changes to Museum of American Folk Art to broaden potential of Museum's programs. Museum's St. Tammany Indian weathervane installed in the US Federal Pavilion at the Montreal World's Fair. For first time estimated income promises to equal expenditures without emergency aid from Joseph B. Martinson. Trustees begin serious discussions regarding the Museum's future status. Some favor Museum retaining independence while others insist Museum affiliate with another institution such as Whitney Museum, Metropolitan Museum or Cooper-Hewitt.
1967
PERMANENT COLLECTION
EDUCATION
Alastair B. Martin presents major gift to Museum of nearly 300 examples of shorebird and floating decoys.
Mary Black organizes seminar, "Merchants and Planters of the Upper Hudson Valley, 1700-1750:. at New York Historical Society in conjunction with exhibition. New York State Council on Arts presents Museum with a grant to publish seminar.
NEWS Museum closes for six weeks from early July to late August to protect art objects, visitors and staff from Museum's hot lights and lack of air conditioning.
Decoys from Martin collection
1.11111111h Don Gray 38
The Clarion
MUSEUM EXHIBMONS
SATELLITE EXHIBITION
"RUBBINGS FROM NEW ENGLAND GRAVESTONES"[2/1-4/4/65]. Curator: Mary Black. Guest curators: Ann Parker and Avon Neal. Two page brochure accompanies exhibition which is circulated to schools and libraries in NY State by New York State Council on the Arts. Related article,July/August Craft Horizon. "SIGNS OF A LIVING FOLK ART"[2/1-4/4/65]. Curator: Nina Howell Starr. Three page brochure accompanies photographic exhibition of 20th century roadside signs. Related article, Art In America. "FOLK CARVINGS BY WILL EDMONDSON"[3/14/4/65]. Curator: Mary Black. Checklist accompanies exhibition.
"SELECTION OF SCULPTURES FROM MUSEUM OF AMERICAN FOLK ANT'S COLLECTION"at the East Side Antiques Show (Winter 1965) Curators: Mary Black and Greenwich Garden Club, Greenwich, CT.
"STEAMBOAT PORTRAITS OF THE HUDSON BY JAMES AND JOHN BARD"[4/13-5/30/65]. Curator: Mary Black. Checklist accompanies exhibition ofship portraits, decorations and furniture on loan from The Mariner's Museum, Newport News, VA. Related text,James and John Bard: Painters ofSteamboat Portraits, by Harold Sniffen and Alexander Crosby Brown, published by Mariner's Museum, Newport News, VA., 1949. "TURNING IN THE WIND/WEATHERVANES AND WHIRLIGIGS"[6/10-9/19/65]. Curator: Mary Black. Checklist accompanies exhibition. "RELIGION IN WOOD/A STUDY IN SHAKER DESIGN"[9/28-11/14/65]. Curator: Mary Black. Text, Religion in Wood,by Faith Andrews and Edward Deming Andrews, published by Indiana University Press, 1966. Checklist accompanies first major exhibition illustrating all aspects of Shaker decorative and fine arts held in NYC.
0
v,4 14
JACOB MAENTEL: A FOLK ART WHODUNIT [6/10-9/19/65]. Curator: Mary Black. Checklist accompanies exhibition. Related article,June 1965 Art In America. "THE ART OF THE DECOY"[11/24/65-1/9/66]. Curator: Adele Earnest. Text, The Art ofthe Decoy by Adele Earnest, published by Clarkson N.Potter, 1965. Checklist accompanies exhibition offloaters and shore bird decoys, prints and weathervanes. "THE ART OF THE CAROUSEL"[11/24/65-1/9/661. Curator: Frederick Fried. Text, A Pictorial History ofthe Carousel, by Frederick Fried, published by Barnes, 1964. Checklist accompanies exhibition of carousel animals, prints and posters.
MUSEUM EXHIBITIONS
SATELLITE EXHIBITION
"THE FOLK ARTIST IN THE CITY: ERASTUS SALISBURY FIELD IN NEWYORK"[1/18-3/30/66]. Curator: Mary Black. Checklist accompanies exhibition.
"EARLY AMERICAN PAINTINGS AND SCULPTURE- at the Time & Life Exhibition Center, Time & Life Building, NYC [10/20-11/20/66]. Sponsors: Museum and Time,Inc. Curator: Mary Black. Text, American Folk Painting, by Mary Black and Jean Lipman, published by Clarkson N. Potter, Inc., 1966. Checklist accompanies exhibition which features threejsaintings from Abby Aldrich Rockefeller Folk Art Center by Edward Hicks, Quaker preacher and painter, plus over 100 objects from more than 40leading museums, historical societies and private collections. More than 50,000 visitors during four week show
"CROSS-SECTION OF FOLK ART FROM NEW YORK STATE HISTORICAL ASSOCIATION AT COOPERSTOWN" [3/29-6/5/66]. Sponsors: Museum and New York State Historical Association. Curators: Agnes Halsey Jones and Louis C. Jones. Checklist accompanies exhibition. "PLACEMENTS OF EARLY AMERICAN TOOLS"[6/14-9/11/66]. Curator: Mary Black. Checklist accompanies exhibition. "AMERICAN SOLDIERS'GEAR"[6/14-9/11/66]. Curator: Mary Black. Checklist accompanies exhibition. "PERMANENT COLLECTION AND PROMISED GIFTS OF AMERICAN FOLK ART"[9/20-11/27/66]. Curator: Mary Black. Checklist accompanies exhibition. "AMERICAN DOLLS FROM SAMUEL F. PRYOR INTERNATIONAL DOLL LIBRARY FOUNDATION OF GREENWICH, CONNECTICUT"[12/6/66-1/29/67]. Curator: Mary Black. Guest curators: Samuel F. Pryor and June Anderson Douglass, curator ofPryor Foundation. Checklist accompanies exhibition ofover 100 small figures from collection of more than 8,000 pieces. "TIN TOYS FROM COLLECTION OF MR.AND MRS.BERNARD BARENHOLTZ"112/6/66-1/29/671 Curator: Mary Black. Checklist accompanies exhibition of more than 200 diminutive tin-wheeled toys. Father Timejoined permanent collection in 1964
SATELLITE EXHIBITION
MUSEUM EXHIBITIONS "AMERICAN NEEDLEWORK"[2/7-4/23/67]. Curator: Edward Bragaline. Checklist accompanies exhibition. "MERCHANTS AND PLANTERS OF THE UPPER HUDSON VALLEY, 1700-1750" at Museum and New York Historical Society[5/4-6/11/67]. Sponsors: Museum,AbbyAldrich Rockefeller Folk Art Collection, Albany Institute of History and Art and New-York Historical Society. Curator: Mary Black. Checklist accompanies first major exhibition of paintings from "first school of art in Colonial America" assembled in NYC. Paintings date between 1715 and 1743. Helga Photo Studio
"AMERICAN FOLK ART PERMANENT COLLECTIONAND PROMISED GIFTS,PART II"[6/20-7/9/67]. Curators: Mary Black and Herbert Waide Hemphill,Jr. Checklist accompanies exhibition.
"CURATORS' CHOICE:A SHAKER TRUSTEES'DINING ROOM"at Tiffany's[Summer 1%7]. Sponsor: Tiffany's. Museum joins others in presenting room settings. Mary Black sets the table for breakfast at Tiffany's!
Noel Allum
"FOLK ARTISTS IN THE CITY/PAINTERS AND CARVERS OF GREATER NEW YORK"[10/30-12/10/67]. Curators: Mary Black and Herbert Weide Hemphill,Jr. Checklist accompanies exhibition. "DOMESTIC MANNERS OF THE AMERICANS"[12/19/67-2/20/68]. Curator: Mary Black. Checklist accompanies exhibition offolk artists' views of society.
eV,
Winter 1989
Installation of "American Needlework" exhibition
39
268
NEWS
PEOPLE
Museum once again explores possibility of relocating to South Street Seaport within five year period.
Minna Curtis, Stewart Gregory and Barbara Johnson join Board of Trustees.
Museum closes for six weeks during July and August. There is talk of buying an air conditioner. Expense too great.
Advisory Board numbers 63. Director Mary Black guest on WOR-TV's "Joe Franklin Showy
Even with summer closing, attendance reaches 13,777 for the year. EDUCATION Museum inaugurates "Annual Lecture Series Barbara Johnson speaks on "The Art of the Whalermar in conjuction with whaling exhibition; and Barbara and Lawrence Holdridge and Mary Black speak on "Ammi Phillips-Portrait Painter 1788-1865; in conjunction with Ammi Phillips exhibition.
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NEWS
PEOPLE
June marks end of support pledge from Board Chairman Joseph B. Martinson, who has assumed Museum's deficit from inception. Board of Trustees, feeling confident, decides to hold off affiliation with Whitney, Cooper Hewitt, South Street Seaport, Museum of the City of New York or Metropolitan Museum for time being.
Advisory Board welcomes fourteen new members. Total numbers 77.
Chairman Martinson and President Charles Grace decide to expand Museum's quarters to accommodate larger gallery, adequate offices and library. Community Counselling Service hired to conduct survey and organize major fund raising drive.
PUBLICATION Director Mary Black chronicles Museum's first 30 exhibitions in Curator, (Vol. XII, No. 2), a publication of American Museum of Natural History. Museum reprints as catalogue, Museum of American Folk Art: A Quinquennial Report.
Museum closes for five week summer break. Still no air conditioning.
70
NEWS
PEOPLE
Board of Trustees establishes The Inheritors, a junior Museum group. Committee membership drive begins.
Mary Black resigns as Museum Director to accept position with New York Historical Society. M. J. Gladstone, publishing consultant to New York State Council on the Arts and Twentieth Century Fund, former Associate Director of Publications at Museum of Modern Art, appointed Museum Director.
Museum closes for five week summer break. Still no air conditioning. Museum plans purchase of 361 / 2 East 75th Street for permanent home. During fund raising drive Museum leases ground floor of proposed new quarters and moves administrative offices. Exhibitions continue on 53rd Street. Recession hits! Expansion plans abandoned. Museum vacates 75th Street, returns to 53rd Street. Fund-raising consultants discharged. Meeting held with Cooper-Hewitt to discuss affiliation under aegis of Smithsonian. No action taken. Idea dropped for time being. Trustees continue to look for way to ensure Museum's independence.
Asneriossaolls els shoig aXisi of argale.,Iliwseosa of Art Itlild Ilioderts. Mts on. tne aMporaVy "As vatIL-Lise.a.M. of eiMt Conte tIll.ras of of sxigast -never ro:o.sei3M 16..useula oilly ttle CraftS IlOad is tlie and I-Soitill.g.•..Itevefor'le "Carving for 11114 of 1011c1 its Times review lorat esliibitior, Nevi Commerce"
Mary Black, Richard Taylor, and Edith (Mrs. Bernard) Barenholtz join Board of Trustees. Sad times! Joseph B. Martinson, founding father of Museum and major benefactor, dies from blood poisoning contracted by brushing against poisonous coral reef. Museum owes his estate $36,500. Charles Grace, moves to California, resigns as President of Board of Trustees. Founding Trustee Joseph B. Martinson
The Clarion
MUSEUM EXHIBITIONS "HUNT FOR THE WHALE"[2/274/15/68]. Curator: Barbara Johnson. Checklist accompanies exhibition. "THE ART OF THE DECOY'[4/22-6/30/68 reopens 8/15-10/9/683. Curators: Mary Black and Herbert Waide Hemphill,Jr. Checklist accompanies exhibition. Following New York exhibition, show travels for two years. "PERMANENT COLLECTION AND PROMISED GIFTS,PART III"[4/22-6/30/68 reopens 8/15-10/9/683. Curators: Mary Black and Herbert Waide Hemphill,Jr. Checklist accompanies exhibition. Decoy experts Mr. and Mrs. Alastair Martin and Adele Earnest
"AMMI PHILLIPS: PORTRAIT PAINTER, 1788-1865"[10/16-12/2/68]. Curators: Mary Black and Barbara and Lawrence Holdridge. Text, Arm-1[1i Phillips: Portrait Painter 1788-1865, by Mary Black and Barbara and Lawrence Holdridge, published by Clarkson N.Potter, NY 1%7.Largest one man show of single folk artist's work ever mounted. Show travels to Albany Institute of History and Art. "THE PLENTY OF PENNSYLVANIA"[12/9/68-4/13/69]. Curators: Mary Black and Herbert Waide Hemphill,Jr. Checklist accompanies exhibition featuring variety ofPennsylvania folk art.
MUSEUM EXHIBITIONS "INFLUENCES ON AMERICAN ART — SWISS FOLK ART"[4/19-6/1/69]. Sponsor: Smithsonian Traveling Exhibition Service. Checklist accompanies exhibition. Carved and painted Turtle joined collection in 1964
"COLLECTOR'S CHOICE,PART I"[6/7-7/13/69]. Curator: Herbert Waide Hemphill,Jr. Checklist accompanies exhibition featuring members'favorites from their or other collections. "THE SHAKER ORDER OF CHRISTMAS"[11/24/69-1/4/70]. Curator: Mary Black. Checklist accompanies exhibition marking Museum's second exhibition on Shakers.
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Ntiot
'"t)10.0 Hel a Photo Studio
SPECIAL EVENT Museum holds benefit premier of Kenneth Clark's film "Civilization!' Poor turnout. Benefit fails to cover expenses. Trustees rally.
MUSEUM EXHIBITIONS "THE TINKER AND HIS DAM"[1/15-3/1/70]. Sponsors: Museum and Historical Society ofAmerican Craftsmen. Curators: Mary Black and Herbert Waide Hemphill,Jr. Checklist accompanies exhibition. "THE EPHEMERAL IMAGE — FOLK FIGURES IN THE LANDSCAPE"[3/9-5/3/70]. Curator: Mary Black. Guest curators: Ann Parker and Avon Neal. Checklist accompanies exhibition. "COLLECTOR'S CHOICE,PART II"[5/12-6/5/70]. Curators: M.J. Gladstone and Herbert Waide Hemphill,Jr. Checklist accompanies exhibition. "[9/9-11/29/70]. Curator: Herbert Waide Hemphill,Jr. "TWENTIETH CENTURY FOLK AM. Checklist accompanies landmark exhibition. Trustees split over validity ofshow. Hemphill, convinced of aesthetic strength of 20th century folk art, becomes driving force behind its acceptance at Museum. "CARVING FOR COMMERCE"[12/8/70-2/20/71]. Curators: Frederick Fried and Herbert Waide Hemphill,Jr. Text, Artists in Wood,by Frederick Fried, published by Clarkson N. Potter, 1979. Scarecrow from "The Ephemeral Image"
Fans of 20th century folk art: Curator Herbert Waide Hemphill,Jr. with Nina and Nathan Starr
Winter 1989
41
971 ,060
NEWS
PEOPLE
Museum receives first grant from National Endowment for the Arts to fund "Rediscovery of Grass Roots America" series aimed to attract young audiences.
M.J. Gladstone resigns; Wallace E. Whipple named Director. Chair Personnel Committee Adele Earnest, says of Whipple, he "perfectly satisfies our high requirements for the position by his experience and training in cultural affairs" Whipple had been Foreign Service Officer with U.S. Information Agency and served overseas as Director of U.S. Cultural Centers in South Vietnam, Chile and Columbia.
New York State Council on the Arts funds Bicentennial series of five exhibitions focusing on domestic American folk arts of the 19th century as practiced in New York State. Each exhibition concentrates on particular material — fabric, metal, pottery, wood, paper — and is designed to travel to schools and other museums. Introduction of Corporate Membership Program. Entrance fee at the Museum doubles to 50 cents for adults —25 cents for children!
Barbara Johnson, well known collector of scrimshaw and whaling arts, assumes Presidency of the Board of Trustees. "Barbara Johnson's optimism and devoted work renewed our purpose and our strength; says Adele Earnest. Charles Carpenter joins Board of Trustees.
Museum on verge of financial collapse! Deficit overwhelming. Quarters too confining. Indiscriminate accessions policy results in staggering warehousing costs. With no endowment fund, Trustees decide to raise money by selling collection!
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NEWS Museum proceeds with plans to auction collection. Ad hoc Friends of Folk Art — Mary Black, Frederick Fried and Herbert Waide Hemphill, Jr. — form committee to oppose sale. Committee persuades Museum to retain Alastair Martin decoy collection, St Tammany, Angel Gabriel, Father Time, Flag Gate, Turtle and William Matthew Prior painting. Auction held at Coliseum Antiques Fair in conjunction with Brooklyn Botanical Gardens. Objects donated by friends, as well as from Museum collection. $22,000 raised proves insufficient for new home or endowment fund. Proceeds instead pay debts and general operating costs. Barbara Johnson, President of the Board of Trustees and Director Wallace Whipple battle negative press and public opinion by defending sale of objects "not of museum quality;
'Most changeirnportaht, of the vane auction innst turnsdirection. to dis face the 211aPk8 a ineet rausetun the rieecIs the weatherof wind, hoarding cajznot out to be atoday • • • so we its To0ay's treasure; everyone .. itciosed .olassive, gpotip tion, rriust fragile we and nerve Aria •Qtlexiottelberedreach by a est in center vakable intensify for the otzr coVeccorne oupilinerican ezp.loctirlerole as This the
is vehicle WhePe for heritage a22d illterour its Barbara befuture Trustees,clohnson, ezpression hes.' oh 42settr22's the President, auction of Eictiiv of oollectler2 objects frohl the
Still no air conditioning. Museum closes for five week summer break.
73
PEOPLE
EDUCATION
New Director is Joseph P. O'Doherty, known as man of great energy with an ability to raise money. He had been Helen Meyner's campaign manager for Congress. O'Doherty goals "...to establish greater communication with industry, commerce, labor, the professions, academics and others as a means of broadening the Museum's service to the greater American community" O'Doherty featured on TV show "What's My Line"
Museum welcomes first interns through Bennington College and NYC high schools "City As School" program. First quilting classes offered for children and adults. Museum sponsors Fall Lecture series through NYU's "Continuing Education" program. Ten lectures are given by distinguished folk art lecturers.
Ralph Esmerian, Dr. Louis C. Jones, Hon. Helen S.(Mrs. Richard) Meyner and Louis Cabot join Board. Trustees welcome the return of Esther Schwartz.
Director Joseph P. O'Doherty
Bruce Johnson named editor of The Clarion.
First quilt class 42
The Clarion
MUSEUM EXHIBITIONS
PUBLICATIONS Trustee Barbara Johnson and Director Wallace Whipple, with Bruce Johnson and designer Ellen Blissman, establish first eightpage newsletter, The Clarion. The name represents horn of Museum emblem Angel Gabriel, and, says Barbara Johnson, "the clarion is part of my family crest:' Blissman donates her design services for first several issues.
ir
THECLARION
"GRANDPA WIENER"[3/24/18/71]. Curator: Herbert Waide Hemphill,Jr. Checklist accompanies exhibition. "MACRAME"[4/27-6/30/71 reopens 8/7-9/30/71]. Sponsor: National Endowment for the Arts. Curator: Herbert Waide Hemphill,Jr. Checklist accompanies first exhibit in series "Rediscowry of Grass Roots" Show,seen as innovative and controversial, receives extensive media coverage. "TATTOO"[10/4/71-1/9/72]. Sponsor: National Endowment for the Arts. Curator: Herbert Waide Hemphill,Jr. Checklist accompanies second exhibit in series "Rediscovery of Grass Roots" Extensive media coverage.
SATELLITE EXHIBITION "WHAT IS AMERICAN IN AMERICAN ART" at Knoedler Gallery, NYC[2/9-3/6/71]. Curator: Mary Black. Catalogue by Mary Black, published by M. Knoedler & Co., NYC,1971. Exhibition honors memory ofJoseph B. Martinson, the founder and chief benefactor of Museum. Exhibit features 133 paintings by American artists — one third are folk art.
MUSEUM EXHIBITIONS The Clarion,Vol. I, No. I.
PEOPLE Director Wallace Whipple resigns. Once again, Museum searches for a new director. Alice (Mrs. James) Burke and Richard Taylor join Board of Trustees. Museum Shop under Manager NeIle Hankinson expands from few shelves to "major attraction:' Visitors can purchase publications on folk art, as well as gift items.
SPECIAL EVENT Museum's first major outreach program. New York State Council on the Arts funds summer programs through 1976 entitled "Celebrate America" Festival to take place in the plazas, malls and open areas of Rockefeller Center. Exhibitions include "THE WHOLE CLOTH OF AMERICA"[6/6-6/29/73] — Antique textiles and live demonstrations of these folk arts; and "FORGING A NATION — METAL FOLK ART" [7/9-7/27/73] — the ornamental and the utilitarian — as well as demonstrations by blacksmiths and other metal craftsmen.
"A RETROSPECTIVE LOOK— FOLK ART FROM THE PERMANENT COLLECTION OF THE MUSEUM" [1/17-2/29/72]. Curator: Herbert Waide Hemphill,Jr. Checklist accompanies first full scale exhibition of Museum's collection in five years. 'AN EYE ON AMERICA: FOLK ART FROM THE STEWART E. GREGORY COLLECTION"[3/13-5/14/72]. Curators: Milian' and Caroline Harris of Heritage Plantation in Sandwich, MA. Catalogue, An Eye on America, by Jean Lipman, published by Museum,1972. First public exhibition of Gregory's top quality collection. "FABRIC OF THE STATE"[5/22-7/10/72 reopens 9/5-9/24/721. Sponsor: New York State Council on the Ans. Curator: Herbert Waide Hemphill,Jr. Catalogue,"Fabric ofthe State:' by Herbert Waide Hemphill,Jr. and Julia Weissman, published by Museum, 1972. First of Bicentennial exhibitions covering early 18th century to present in NY State. "HAIL TO THE CHIEF"[10/3-11/12/72]. Curator: Herbert Waide Hemphill,Jr. Checklist accompanies exhibit of election campaign paraphernalia. "THE SPIRIT OF CHRISTMAS PAST"[11/28/72-1/2/73]. Curator: Herbert Waide Hemphill,Jr. Exhibit features two decorated trees, toys, and gingerbread houses.
MUSEUM EXHIBITIONS "THE OCCULT"[1/9-4/15/74 Sponsor: National Endowment for the Arts. Curators: Herbert Waide Hemphill,Jr. and William Harris. Checklist accompanies third exhibit in "Grass Roots" series which deals with decorative aspects ofsupernatural practices in America. Show includes lectures and daily readings by member of School ofInnervision. Attendance overwhelming; show extended five weeks. "METAL OF THE STATE"[5/1-7/1/731. Sponsors: New York State Council on the Arts and National Endowment for the Arts. Curator: Herbert Waide Hemphill,Jr. Catalogue, Metal ofthe State, by Ruth Andrews, published by Museum, 1973. Second of Bicentennial series, features metals used to serve and decorate in NY State. Show travels to Museum Village of Smith's Clove. "LOUISIANA FOLK PAINTINGS"[9/17-11/4/731. Sponsor: National Endowment for the Arts. Curators: William Fagaly and Parrott Bacot. Consultant: Larry Borenstein. Catalogue, Louisiana Folk Paintings: Bruce Brice, Clementine Hunter,Sister Gertrude Morgan, by William A. Fagaly, published by Museum, 1973.
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"MAKE A JOYFUL NOISE"[11/26/73-1/6/74]. Curator: Herbert Waide Hemphill,Jr. Checklist accompanies Christmas exhibition offiddle shaped weathervane, miniature musicians and instruments owned by famous folk singers. Exhibition supplemented by series of concerts and movies.
SATELLITE EXHIBITION "J.F. HUGE: REDISCOVERY' at South Street Seaport Museum [3/17-4/22/73]. Sponsor:Jean and Howard Lipman Foundation. Curator: Herbert Waide Hemphill,Jr. Text, Rediscovery:Jurgan Frederick Huge (1809-1878), by Jean Lipman,published by Archives ofAmerican Art, NY,1973. Exhibit features first comprehensive display ofJ.F. Huge's ship paintings and landscapes from 1830-1878.
Winter 1989
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NEWS Museum comes under investigation by Attorney General Louis J. Lefkowitz' office! Questions raised regarding Museum's financial condition and means by which objects from collection were disposed of at 1972 Benefit Auction. Barbara Johnson announces "We have disclosed all of our dealings... and have produced satisfactory evidence that they were above board and we have reduced our debt substantially" Attorney General closes investigation; Museum informally agrees to notify his office whenever it plans to deaccession objects worth $500 or more. Museum's financial status continues on uneven course. Affiliation with other New York City institutions considered once again. The Whitney and South Street Seaport are enthusiastic. Six hour brain-storming session at Trustee Ann Pierson's home follows serious discussions with the Whitney. Howard Lipman makes impassioned plea for Museum to retain independence and convinces group to abandon affiliation plans.
PEOPLE Joseph P. O'Doherty resigns as Director saying "current income not sufficient to operate the Museum even on an austerity lever He expresses concern over the forfeiture of items from Museum's collection pledged as collateral for loans from Trustees. Bruce Johnson, Clarion editor, named "Acting Director" Cyril I. Nelson, Kenneth R. Page, Maureen Taylor and Thomas Armstrong join Board of Trustees. Death of Trustee Edith Barenholtz. Museum exhibited her tin toys in 1966 and her weathervanes and trade signs this year. In her honor, Trustees propose yearly collectors symposium. Trustee Edith Barenholtz
4ig
Elizabeth Tobin named Museum Shop Manager.
Museum invited to Washington, DC, by the 93rd Congress to testify at Joint Hearings before a Special Subcommittee on the Arts and Humanities regarding Museum Services Act.
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Museum still without air conditioning, closes for five weeks.
NEWS
PEOPLE
PUBLICATIONS
Joseph B. Martinson Estate graciously forgives half the debt owed to it by the Museum.
Bruce Johnson named Director, fourth in four years, amidst controversy regarding his age and experience. Johnson shows himself to be a "selfless leader with unconquerable optimism through whose leadership Museum reestablishes its professional credit, improves its financial stability and enjoys exhibition success"
With Fall issue, The Clarion shifts from newsletter to folk art publication. Trustee Adele Earnest writes first article, "In Search of a Unique American Folk Art/The Hunt for the Decoy:'
Decoys go to the White House! Mrs. Gerald Ford gives a new look to State Dinners at the White House by using American folk art. Forty decoys from Museum's collection used as centerpieces at State Dinner honoring Prime Minister Harold Wilson. Museum closes once more for five weeks during summer months.
76
Jo Carole (Mrs. Ronald) Lauder, Donal O'Brien, Peter Nicholls, Andy Warhol and Mrs. Phyllis Collins join Board of Trustees. Stewart Gregory and Marion Johnson named Trustees Emeriti.
EDUCATION
Museum appoints first staff fund-raiser, Dianne E. Butt. Position made possible through grant from New York State Council on the Arts. In addition, Butt becomes Editor of The Clarion.
Museum presents a Fall series of folk music concerts by the Pinewoods Folk Music Club.
Meeting held at home of Trustee Jo Carole Lauder to discuss establishing a Friends Committee for the Museum. Helaine Fendelman is chosen interim Chairperson.
Museum offers seven lectures on folk art through Hofstra University's Adult Education Program.
PEOPLE
EDUCATION
Frances S. Martinson, Esq. and William E. Wiltshire III join Board of Trustees. Trustee Emeritus Stewart Gregory dies. Following Joseph B. Martinson's death, Stewart Gregory played decisive role in helping Museum regain momentum. Museum's 1972 exhibition "An Eye on America" featured his extensive collection.
Friends Committee sponsors Lecture Series as well as four day "Christmas Story Hour" at Museum, organized by Jo Carole Lauder.
Board of Trustees and Director formally establish Friends Committee "to aid the growth and welfare of the Museum 7 Members of the Friends Committee elected from Museum's membership roster. Membership limited to 50 members. Helaine Fendelman named Chairperson.
Trustee Stewart Gregory
44
Tragedy befalls Museum. Untimely death of 27 year-old Director Bruce Johnson in a motorcycle accident in June. Members and museum community mourn. Karen S. Schuster, Assistant to the Director, named Executive Secretary. Search begins for new Director. The Clarion
EDUCATION
MUSEUM EXHIBITIONS
Museum intern program expanded to include Executive High School Internship Program.
"THE EDITH BARENHOLTZ FOLK ART COLLECTION OF NINETEENTH CENTURY WEATHERVANES AND TRADE SIGNS" 0/28-4/7/74i Curator: Herbert Waide Hemphill,Jr. Checklist accompanies exhibition.
Museum offers its second crafts class, rug hooking, in conjunction with hooked and sewn rug exhibition.
"PAINTINGS BY HERMAN ARTHUR HASKINS"11/28-4/7/741. Curators: Mrs. Mary Haskins Williams and Mrs. Terry Learned. Checklist accompanies exhibition of paintings by 20th century watercolorist who began to paint at the age of 78.
SPECIAL EVENT "Celebrate America" series at Rockefeller Center enters second summer. Exhibitions include: "ALL ABOARD — FOLK ART OF AMERICA'S RAILROADS/WHEELS OF AMERICA" [6/7-7/12/74]. Sponsor: National Endowment for the Arts. Checklist accompanies exhibition of prints, paintings and other art commemorating the opening of the country by the railroad; "COLUMBIA, THE GEM OF THE OCEAN"[Summer 1974]. Sponsor: New York State Council on the Arts. Exhibit features Naval pictures, whaling materials, scrimshaw, paintings, figureheads and macrame; and "POTTERY OF THE NORTHEAST — FOLK ART CERAMICS" at New York Bank for Savings [Summer 1974]. Sponsor: New York State Council on the Arts. Glass, pottery, earthenware, china and stoneware, with live demonstrations by potters and glassblowers.
"POTTERY OF THE STATE" 14/18-6/2/74]. Sponsor: New York State Council on the Arts. Curator: William C. Ketchum, Jr. Catalogue, Pottery ofthe State, by William C. Ketchum, published by Museum, 1974. Third in Bicentennial series. 'AMERICAN HOOKED AND SEWN RUGS — FOLK ART UNDERFOOT/ HOOKED RUGS IN THE FOLK ART TRADITION" 19/18/74-1/19/751. Curators: Kate and Joel Kopp. Text, American Hooked and Sewn Rugs/Folk Art Underfoot, by Joel and Kate Kopp, published by E.P. Dutton & Co., Inc., 1975. Catalogue, Hooked Rugs in the Folk Art Tradition, by Joel and Kate Kopp, published by Museum, 1974. Exhibition held over for two months. Travels to Boston.
S.
Hooked and sewn rug exhibition
SPECIAL EVENTS Trustee Jo Carole Lauder organizes and chairs Manhattan House Tour. Great success, over 250 participants. Tour culminates in a reception at Trustee Andy Warhol's Factory where guests buy from Museum Book and Gift Shop, have psychic readings and enter raffle for quilt donated by Phyllis Haders. "Celebrate America" in third summer season. Exhibitions include: "AMERICAN FOLK SCULPTURE IN WOOD" [6/17-7/12/75]. Sponsors: New York State Council on the Arts, National Endowment for the Arts, Rockefeller Center, Inc. Curator: Mama K. Brill. Checklist accompanies exhibition which includes demonstration by Bob Brophy, decoy carver from Massachusetts and "NAUTICAL FOLK ARTISTS OF TODAY" [7/14-7/26/75]. Sponsors: New York State Council on the Arts, National Endowment for the Arts, McGraw-Hill, and National Maritime Union. Curator: Nancy Karlins. Checklist accompanies exhibition of work by 40 contemporary seamen. Joseph Rinkowski and Joseph Villegas demonstrate their arts.
SPECIAL EVENTS Friends Committee sponsors trip to University Hospital Antiques Show in Philadelphia and tour of Pennsylvania home of Mr. & Mrs. Walter L. Wolf to view their collection of European and Pennsylvania folk art. Huge success. All sold out! Second Manhattan House Tour sponsored by Friends Committee and Board of Trustees ends with reception at Museum and tour through exhibition "A Child's Comfort Raffle of quilt donated by Phyllis Haders. Museum sponsors folk concerts with Pinewoods Folk Music Club. Friends Committee sponsors a benefit for the Museum, an evening of dinner parties at the homes of "Friends" followed by champagne and dessert at the Museum. Highlight of the evening's activities is a private tour of the Museum's popular exhibition "A Child's Comfort: Winter 1989
MUSEUM EXHIBITIONS "CALLIGRAPHY: WHY NOT LEARN TO WRITE" 11/29-3/28/74 Sponsors: National Endowment for the Arts and New York State Council on the Arts. Curator: Bruce Johnson. Catalogue, Calligraphy: Why Not Learn to Write, by Bruce Johnson, published by Museum, 1975. Exhibit features first comprehensive exhibition on calligraphy. "VVOOD SCULPTURE OF NEW YORK STATE"[4/2-6/1/74 Sponsor: New York State Council on the Arts. Curator: Mama K. Brill. Catalogue, Wood Sculpture ofNew York State, by Mama K. Brill, published by Museum, 1975. Fourth exhibition in Bicentennial series. "TRAMP ART"(9/9-12/31/75]. Curator: Helaine Fendelman. Text, Tramp Art, by Helaine Fendelman, published by E.P. Dutton, NY, 1975. First presentation of work ofitinerant craftsman who chip carved wood to make variety of items. Exhibit travels. "BANNER SHOW'(197.51. Sponsor: Community Environments. Checklist accompanies exhibition of banners by community groups commemorating community history and Bicentennial. Museum unveils its own folk art banner.
SATELLITE EXHIBITION "THE ENCHANTED VVORLD OF DOLLS:' at Port Authority, NYC(10/10/75-1/1/76]. Sponsors: Museum and Port Authority of New York & New Jersey. Curator: Micki McCabe. Christmas exhibition features over 200 international dolls, doll houses and miniature rooms with live demonstrations, puppet shows, singers and dancers.
MUSEUM EXHIBITIONS "AMERICAN CAT-ALOGUE — THE CAT IN AMERICAN FOLK ART" (1/12-3/26/76]. Curator: Bruce Johnson. Text, American Catalogue — The Cat In American Folk Art, by Bruce Johnson, published by Museum in conjunction with Avon Books, 1976. One of the most popular shows ever held at the Museum. More than 19,000 visitors in a 3 month period. "PAPER OF THE STATE" 14/8-9/24/76]. Sponsors: New York State Council on the Arts and the American Revolution Bicentennial Commission. Curator: N.E Karlins. Catalogue, Paper ofthe State, by N.F. Karlins, published by Museum, 1976. Fifth and final exhibition in Bicentennial series focuses on the use of paper as a medium of the folk artist. "A CHILD'S COMFORT: BABYAND DOLL QUILTS IN AMERICAN FOLK ART" P0/6/76-2/4/77j. Curator: Josephine Rogers. Text, A Child's Comfort: Baby and Doll Quilts in American Folk Art, by Bruce Johnson, Susan S. Connor,Josephine Rogers and Holly Sidford, published by Harcourt Brace Jovanovich, NY, 1977. Checklist accompanies exhibition of baby and doll guilts from 1830 to the present. Show extended two months due to public demand.
Orange Cat-Smutt 45
77 NEWS Museum gets an awning! Anonymous donor helps put spotlight on Museum's presence at 49 West 53rd Street. Entrance fee at the Museum doubles once more —$1.00 for adults and 50 cents for children. Museum is finally air conditioned! Stays open twelve months a year.
PEOPLE
PERMANENT COLLECTION
Robert Bishop named Museum Director. Prolific author, former Museum Editor and curator at the Henry Ford Museum and Greenfield Village in Dearborn, MI, Bishop has a Ph.D. in American Culture from University of Michigan. He is a former dancer, antiques dealer, insurance appraiser, real estate salesman, editor, and registered representative of the New York Stock Exchange. A breeder of show dogs, he presents The All American Dog/Man's Best Friend in Folk Art" as one of his first exhibitions at the Museum.
Permanent Collection of over 250 items is depicted in comprehensive collection of 36 postcards. Included are Flag Gate, Father Time, St. Tammany weathervane, Chalkware Cat, Orange CatSmutt and Angel Gabriel weathervane. Two other series are offered: eight jumbo postcards of Museum's wildfowl decoy collection and twelve examples from Museum's collection of 18th, 19th and 20th century needlework. PUBLICATIONS
Mary Allis, Alice (Mrs. Jacob M.) Kaplan, Karen S.(Mrs. Derek V.) Schuster, William I. Leffler, Lucy C.(Mrs. Frederick) Danziger and Basil Mavrolen join Board of Trustees. Ralph Esmerian named Chairman of the Board, Barbara Johnson continues as President. Nancy Lassalle becomes Trustee Emeritus. Julia Weissman named Editor of The Clarion; Patricia Coblentz named Assistant Director; Dianne E. Butt named Development Director; Roberta Gael named Education Committee Chairperson. Friends Committee abolishes membership limitation of 50. Opens door to all. Karen S. Schuster becomes Chairperson.
Robert Bishop begins aggressive publishing program. Summer edition of The Clarion, for the first time, includes color and advertising; sports new subtitle "America's Folk Art Magazine; SPECIAL EVENTS Following last year's success, Friends Committee sponsors trip to University Hospital Antiques Show in Philadelphia and House Tour for a second year. Wait list only! House tour includes tour of Joan and Victor Johnson's home. Day trips to Russell Carrell's Salisbury Flea Market and to Brandywine River Museum in Chadds Ford, PA. Manhattan House Tour continues for a third year.
78 NEWS Museum receives one of the first grants for general operating expenses awarded by the Institute of Museum Services, a recently created Federal agency within the Department of Health, Education and Welfare.
PEOPLE
PUBLICATION
Ira Howard Levy, Theodore Kapnek, Margery (Mrs. Harry) Kahn, and Catherine G. Cahill join Board of Trustees. Dr. Louis C. Jones, Jean Lipman and Hon. Helen S. Meyner named Trustees Emeriti.
Summer issue of The Clarion introduces Book Reviews column. Adele Earnest recounts Museum's "Early Years 1961-1978; in MidSummer issue.
Patricia Coblentz named Editor of The Clarion; Karen Owel named Exhibitions Coordinator; Robert Harvey named Business Manager; Deborah Yellin named Membership Secretary.
Museum receives Special Award Citation from Fifth Annual Exhibition Publications Awards Program of the Art Libraries Society of North America, NY Chapter, 1977 for catalogue A Child's Comfort: Baby and Doll Quilts.
PERMANENT COLLECTION
12 objects from permanent collection and exhibitions in a new postcard series, printed by Morgan & Morgan, Inc.
Museum receives gift of 11 Puerto Rican Santos from Nancy (Mrs. Richard) Valelly.
EDUCATION
Puerto Rican Nativity, part of Valelly gift
Museum bursting at the seams! Must find larger quarters. Junior League awards Museum a one year grant for extended hours one evening a week and Docent education.
Museum initiates New Outreach Program. Docents travel to public schools to teach young children about folk art. Cathie Calvert, Cynthia V.A. Schaffner and Lucy C. Danziger prepare accompanying text.
Robert Bishop acts as auctioneer on Channel 13 benefit "Auction; A new audience learns about folk art. Silver Award at 21st International Film and TV Festival of NY given Museum for audio visual presentation, "What is Folk Art?" created in conjunction with the Department of Cultural Affairs of the City of New York. Film chosen from over 7,000 entries. 46
Docent program celebrates first season. In appreciation of service, Docents invited by Museum to seminar weekend at New York State Historical Association in Cooperstown, hosted by Dr. Louis C. Jones. In addition, Docents honored at special preview cocktail party at Sotheby's Parke Bernet prior to sale of Collection of Redware Pottery of Bernard and S. Dean Levy. Nancy Druckman presents lecture on folk art.
Museum now offers seven crafts courses: quilting, rug hooking, early needlepoint, rug braiding, basketry, off loom weaving and whittling. REPRODUCTIONS/HOME FURNISHING'S PROGRAM Museum with American Heritage Publishing Co. begins Reproduction Program by featuring cast iron Amish Couple bookends; cast iron Shadow Bootscraper; Needlepoint kits of Orange Cat-Smutt, In the Dog House, and Chalkware Cat, Shaker labels of string beans, corn and applesauce; Shaker candlestand; and Peaceable Kingdom Calendar.
Series of antiques and art tours, "A Collector's Cache of American Antiques; is led by Helaine Fendelman; insider's view of how, what and where to look for antiques in NYC. Lecture by Theodore Kapnek, Sr., entitled "Samplers of American Life: Folk Art Needlework 1700-18507 in conjunction with sampler exhibition. The Clarion
MUSEUM EXHIBITIONS "SELECTED MASTERPIECE PAINTINGS: NEW YORK STATE FOLK PAINTERS"[2/16-5/22/77]. Sponsors: New York State Council on the Arts and the National Endowment for the Arts. Curator: Mania Brill Anderson. Catalogue,Selected Masterpieces ofNew York State Folk Painting, by Mama Brill Anderson,published by Museum, 1977. Exhibit features portraits from Patroon painters to the present.
First Docent group
EDUCATION Docent Program established. Lucy C. Danziger, driving force behind program, and Susan Klein become Co-Chairpersons Docent Committee; Cynthia V.A. Schaffner becomes Chairperson Weekend Coordination Docent Committee. Museum offers five crafts courses: quilting, early needlework, rug hooking, rug braiding, and basketry, as well as 1977-78 Folk Art Lecture Series.
"BEST OF FRIENDS/TO BRUCE JOHNSON"[6/8-9/8/77]. Curator: Burton Fendelman. Catalogue, Best ofFriends/ To Bruce Joluison, by H.R. Bradley Smith and Riki Zuriff, published by Museum, 1977. Catalogue madepossible by Samuel Pennington of Maine Antiques Digest. Exhibit features 104 objects covering range ofAmerican folk art loaned by members of the Museum in memory of Bruce Johnson. Exhibition marks the establishment of"Bruce Johnson Memorial Fund:" "FOLK AND FUNK/ANDY WARHOL'S FOLK ART WORLD" [9/20-11/19/77]. Curators: Sandra Brant and Elissa Cullman. Catalogue, Folk and Funk/Andy Warhol's Folk Art World, by Sandra Brant and Elissa Cullman, published by Museum, 1977. In describing the objects in the exhibition, Trustee Andy Warhol notes, "I don't believe in restoration. I really don't. I think things should look just as they are "THE ALL AMERICAN DOG/MAN'S BEST FRIEND IN FOLK ART" [11/30/774/2/78]. Curator: Robert Bishop. Text, The All American Dog/Man's Best Friend in Folk Art, by Robert Bishop, published by Museum in conjunction with Avon Books, NY, 1977. For the first time, dogs admitted to the Museum,"Canine admission 50 cents regardless of dog's age!" Nearly 200 dogs in attendance.
Catalogue for dog exhibition
SPECIAL EVENTS Party for Sister Mildred Barker of Sabbathday Lake Shaker Community hosted by Museum following lectures at St. Thomas Church. Standing room only. Museum presents informal evening concerts in galleries by Wretched Refuse String Band and Mostly Mozart Trio. Reception at Museum to celebrate publication of The Rockefeller Brothers' Fund report "The Art Museum as Educator" The Rockefeller Brothers' Fund and the Council on Museums and Education in the Visual Arts also hold reception for the Center for Museum Education from George Washington University in Museum's galleries. Museum sponsors Annual Philadelphia Bus Tour to University Hospital Antiques Show including House Tour, as well as day excursions to Salisbury Flea Market, Hitchcock Chair Museum, Winterthur Museum, and Barnes Foundation. Manhattan House Tour series continues for a fourth year. Several pairs of theater tickets are awarded to lucky ticket holders. A beautiful antique quilt, donated by Phyllis Haders, is raffled. Museum holds Christmas Benefit after performance of New York City Ballet 'Nutcracker Suite':
MUSEUM EXHIBITIONS "SELECTIONS FROM THE PERMANENT COLLECTION"[4/18-6/11/78]. Curator: Robert Bishop. Catalogue, Mid Summer Clarion "Pictorial Guide to Museum's Permanent Collection:. by Robert Bishop. "FOLK ART: THE HEART OFAMERICA"[6/27-10/15/78]. Sponsor: In part, National Endowment for the Arts. Curator: Elaine Eff. Catalogue, Sununer Clarion,"Folk Art: The Heart ofAmerica:" by Elaine Eft Exhibit features heart motifin traditional American arts. "GREAT AMERICAN SAMPLERS FROM THE COLLECTION OF THEODORE KAPNEK,SR!'[10/31/78-1/7/79]. Curator: Glee Kruger. Text, A Gallery of American Samplers, by Glee Kruger, published by ER Dutton, New York, 1978. Fall Clarion features,'A Gallery ofAmerican Samplers:.by Glee Kruger. 112 of the best samplers in renown Kapnek collection.
SATELLITE/TRAVELING EXHIBITIONS "WEATHERVANES" at Ginza Hall, Shiseido Co., Tokyo,Japan [Spring 1978]. Sponsor: Shiseido Cosmetics [America] Ltd. Curator: Robert Bishop. Exhibition ofAmerican weathervanes provides material for Japanese television program which is viewed by 35 million people. "NEW YORK: THE STATE OF ART" exhibition at New York State Museum in Albany[1974 Sponsor: New York State Council on the Arts. Curator: Robert Bishop. Exhibition features folk arts of New York State.
Paper cut from "The Heart of America"
Eagle Architectural Ornament joined the permanent collection in 1966
"DECOYS" at the Cosmopolitan Club in NYC[1978]. Sponsor: Cosmopolitan Club. Curators: Kathy Ouvel and Corrine Farkouk.
Winter 1989
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979 NEWS Museum's Board of Trustees completes the acquisition of brownstones located at 45 and 47 West 53rd St., two buildings immediately adjacent to Museum's rented quarters at 49 West 53rd St. Museum awarded grant from Japan US Friendship Commission to underwrite travel expenses incurred in touring 1980 exhibition "Small Folk: A Celebration of Childhood in American Folk Art Museum receives grant from New York State Council on the Arts for general operating expenses.
PEOPLE
PUBLICATIONS
Barbara Johnson resigns as President of Board of Trustees, remains a member. Ralph Esmerian becomes President. Robert Bishop, in Winter 1980 issue of The Clarion, thanks Johnson for her unfailing support: "When most people wanted to give up and close the Museum or join with another institution, Barbara refused. She believed, as did Joseph B. Martinson, who founded the Museum, that there was a place and a need for an American folk art museum in New York City. A good number of us are here today because Barbara persuaded us and excited us about the importance of the future of the Museum:'
The Clarion receives Mead Award of Merit in 31st National Competition for Graphic Arts.
Jana (Mrs. Gerold EL.) Klauer, Susan (Mrs. Robert) Klein, Elizabeth J. McCormick, Diane Ravitch and Thomas G. Rizzo join Board of Trustees. Mary Allis named Trustee Emeritus. Suzanne Stern named Education Coordinator; Susan Flamm named Publicity Coordinator; Douglas Fischer named Director of Finance; Laura Byers named Exhibitions Coordinator; Dia Stolnitz named Museum Coordinator; Susan Klein and Dorothy Kaufman named Docent Training Coordinators; Phyllis A. Tepper, Marie S. DiManno, Heather Hamilton named Outreach Coordinators; Cynthia V.A. Schaffner named Correspondence Coordinator; Priscilla Brant named Field Trips and Seminar Coordinator; Lucy C. Danziger named Docent Program Consultant. Friends Committee appoints new Chairperson, Marilyn Glass. REPRODUCTIONS/HOME FURNISHINGS PROGRAM Hermine Mariaux named Licensing and Marketing Director for Museum to implement complete Home Furnshings Reproduction Program based on Museum's permanent collection which would be marketed nationwide through leading department and home furnishings specialty stores.
1
80 NEWS Board of Trustees salutes Junior League of NYC for support and untiring contributions to the Museum. Museum establishes Corporate Development Program under new Development Coordinator Anne Minich.
The Rabkins and friends
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Rizzoli International Book Store promotes Museum's book, Treasures of American Folk Art, in "New York is Book Country" street fair. EDUCATION Museum and Cooper-Hewitt co-sponsor ten week course on American folk art at Cooper-Hewitt. Lecturers include Museum staff and docents. Museum co-hosts four-day conference on "Folklore in New York City:' Museum's internship program continues to expand. Students from colleges throughout U.S. participate. Two day seminar presented at Sotheby Parke Bernet entitled "Shaker Life in America; coordinated by Gerard C. Wertkin; first symposium on this subject in NYC. Visiting Shakers participate in a special religious program at Trinity Church. Film on the weathervane as folk art is written by Adele Earnest and produced by Museum in conjunction with Arthur Rashap of the Erpfs Cultural Center of Arkville, NY, as part of weathervane exhibit. NYC students learn to adapt weathervane designs for Christmas tree ornaments in program supported by Junior League of NYC. More than 300 ornaments displayed at Penn Station and Port Authority. Museum's Docent Outreach Program visits Goddard Riverside Community Center. Marie S. DiManno demonstrates the art of stencilling. Each child receives a cigar box, supplied by Lucy C. Danziger, filled with stencilling supplies.
PEOPLE
EDUCATION
Howard Feldman, M. Austin Fine, Henry R. Kravis, Jon W. Rotenstreich and David Walentas join Board of Trustees. Death of Theodore H. Kapnek, Museum Trustee and distinguished collector of American samplers.
Curator of Education Susan Saidenberg initiates plan to attract new audiences and augment existing Outreach Program.
Assistant Director and Clarion editor, Patricia Coblentz resigns. Gerard C. Wertkin named Assistant Director; Nora Lucas named Clarion Editor; Margaret Lemont named Shop Manager; Anne Minich named Development Coordinator; Lillian Grossman named Assistantto the Director; Cordelia Rose named Registrar/ Exhibitions Coordinator. PERMANENT COLLECTION Museum acquires two major collections. David Pottinger, of Topeka, IN, donates 100 midwestern Amish quilts, dating from the late 1800 s through 1930 s, greatly enhancing the Museum's growing quilt collection. Through a bequest from the Effie Thixton Arthur Estate, the Museum receives the "Pennsylvania Chalkware Collection of Effie Thixton Arthur." According to Jean Lipman, it's "...the most important collection of Pennsylvania chalkware that exists today7 Museum's permanent collection tops1,300 pieces, not including promised gifts. Entire collection is catalogued.
Museum gains international visibility with special lecture series for wives of United Nations diplomats. Museum publishes gallery guide to "Small Folk: A Celebration of Childhood in America" to enable children to locate specific objects in the exhibition, sketch their own creations and design their own folk toys. Preview Benefit includes 250 school children. In conjunction with exhibition, NYU's Liberal Arts Program and the Midtown Center of NYU's School of Continuing Education sponsor roundtable symposium at NYU Midtown Center, "Small Folk: Changing Views of American Childhood 7 Symposium made possible, in part, through grant from National Endowment for the Arts. Docents organize lecture series at Cooper Hewitt. Museum offers folk art classes in conjunction with the Department of Art and Education at NYU. Tremendous response. All classes fully subscribed. Chalkware from Effie Thixton Arthur bequest
Dorothyand Leo Rabkin,long time Museum supporters promise their entire folk sculpture collection which spans three centuries to the Museum. 20th century examples prove the Rabkins are "firm believers that folk sculpture is an ongoing art form': The Clarion
SPECIAL EVENTS Mayor Koch proclaims September 10-16 Folk Art Festival Week in NYC. Museum recognized for influence in establishing an important place for folk art in City's cultural life. Friends Committee sponsors day trip to University Hospital Antiques Show in Philadelphia. House Tour included. Preview Benefit of "Old Glory at Sea' exhibit at South Street Seaport Museum features Early American music by Frederick R. Selch and the Federal Music Society. In celebration of Hawaiian quilt exhibition Museum holds Hawaiian luau on sidewalks adjacent to its buildings. City allows Museum to close off 53rd St. from 5th to 6th Avenue from 5:30-8:30. United Airlines flies in pineapples for the event!
MUSEUM EXHIBITIONS "THE VVOMAN FOLK ARTISTS IN AMERICA"[1/16-4/29/79]. Curators: C.Kurt Dewhurst and Marsha MacDowell. Text, Artist in Aprons, by C. Kurt Dewhurst, Marsha MacDowell and Betty Mac Dowell, published by El Dutton, Inc., NY, 1979. Catalogue, Winter Clarion,"The Woman Folk Artist in America': by C. Kurt Dewhurst, Betty MacDowell and Marsha MacDowell. Exhibit pays tribute "to the indomitable creative spirit persistently powerful and productive among American women since the 17th century to the present day': AMERICAN FOLK PAINTING SELECTIONS FROM THE COLLECTION OF MR.AND MRS. WILLIAM E. WILTSHIRE III" ofRichmond, Virginia [5/15-6/24/79] Sponsor: American Federation ofArts. Curator: Laura Byers. Catalogue, American Folk Painting: Selections from the Collection ofMr.& Mrs. William E. Wiltshire III, compiled by Richard B. Woodward,published by Virginia Museum,Richmond, 1978. Spring Clarion features excerpts from cataCollogue by Mary Black,'American Folk Painting: Selections from the Collection of Mr. & Mrs. William E. Wiltshire lection emphasizes portraits painted between 1785-1840. "HAWAIIAN QUILTS/TREASURES OF AN ISLAND FOLK ART"[7/3-9/2/79]. Sponsors: Hyatt Hotels Hawaii and United Airlines. Curators: Thomas K. Woodard and Blanche Greenstein. Catalogue, Summer Clarion,"Hawaiian Quilts: Treasures of an Island Folk Art" by Thomas K. Woodward and Blanche Greenstein. First major exhibition in continental U.S. features 19th and 20th century quilts from Honolulu Academy ofArts and the Bishop Museum,Honolulu, as well as private collections.
Fall Antiques Show: Robert Bishop convinces antiques dealer, "THE SHAKERS IN NEW YORK STATE"[9/13-11/21/79]. Curators: Dr. C. Eugene Kratz, Karl Mendel and Cynthia Elyce Sanford L. Smith, to run first "all American' antiques show in Rubin. Installation and design by Francisco F. Sierra. Fall Clarion features, "The New York Shakers and Their Dwelling NYC. Held at 7th Regiment Armory, Park Avenue and 67th Street Places: by Dr. C. Eugene Kratz;"What Makes Shaker Furniture Shaker?" by Karl Mendel; "Shaker Industries: by Cynthia [9/11-9/16/79]. Theme: Come Celebrate the Harvest. Exhibition: Elyce Rubin; and "The Flame is Never Ceasing...Continuity in Shaker Life at Sabbathday Lake': by Gerard C. Wertkin. "CLASSICS FROM THE COLLECTION OF THE MUSEUM OF Exhibit is presented in three parts: Shaker dwellings, Shaker artifacts and Shaker crafts in New York State. Four satellite exAMERICAN FOLK ART!' Curators: Burton and Helaine Fendelman. hibitions at the New York Public Library and one at American Museum ofImmigration focus on other components of Fall issue of The Clarion features, "Classics From the Collection Shaker heritage and culture. of the Museum of American Folk Art/Special Exhibition at the Fall Antiques Show; by Helaine Fendelman. Benefit Preview honors "THE ART OF THE WEATHERVANE"[12/5/79-2/24/80]. Sponsor: Kenneth Lynch & Sons, Inc. of Wilton, CT. Curator: Ralph Sessions. Catalogue, Winter Clarion,"The Art of the Weathervane: by Ralph Sessions. Exhibit features 50 weatherMuseum. 2,000 people attend preview coordinated by Friends vanes, including two of the most historically significant vanes in the U.S.: Massachusetts Historical Society's Indian by Committee, headed by Karen S. Schuster and Cynthia VA. Shem Drowne (1716), and Historical Society of Pennsylvania's wrought iron banner vane (1699). Museum and Sotheby's Schaffner. Honorary Chairpersons of Special Preview Benefit, host evening at Sotheby's with Adele Earnest, noted folk art authority, founding Trustee and designer of weathervane exhibit. Barbra Streisand and Joseph Papp. Show manager Sanford L. Smith and Alison Mager. Preview tickets of $35 entitle holder to readmittance throughout show. SATELLITE EXHIBITIONS "OLD GLORY AT SEA" at South Street Seaport Museum 119791. Sponsors: Museum and South Street Seaport Museum. Curators: Kate and Joel Kopp. Exhibit features patriotic paintings and textiles. "PHYLLIS HADERS COLLECTION OF AMISH QUILTS:'at American Standard Building [9/79]. Curator: Phyllis Haders.
SPECIAL EVENTS Fifth Manhattan House Tour, sponsored by Friends Committee. Following the tour, a reception held at Museum with quilt raffle made possible through generosity of Phyllis Haders. Macy's Department Store in conjunction with Museum's staff and Docents presents lectures on folk art to celebrate Macy's new line of early American decoMuseum friend Phyllis Haders rative textiles and related home furnishings by New Country Gear of NYC. Benefit auction on behalf of Museum part of evening's festivities. For second year, Mayor Koch declares "American Folk Festival Week" in New York City [10/27-11/2/80]. Fall Antiques Show moves to the Pier [10/29-11/2/80]. Theme: 'Celebrate the Hudson!' Exhibition: "MARINE PAINTINGS/19TH CENTURY NEW YORK PORT PAINTERS!' Curator: A.J. Peluso, Jr. Checklist accompanies exhibition. Summer/Fall Clarion features "The City of Ships: by A.J. Peluso, Jr. Preview benefiting Museum supported by The Seamen's Bank For Savings; The Bank of NY; Con Edison, and the Estee Lauder Inc., Design Dept. CoChairpersons of Preview Benefit, Karen S. Schuster and Cynthia VA. Schaffner. Honorary Chairpersons, Mrs. Jacob M. Kaplan, Mr. John V. Lindsay and the Hon. & Mrs. J. William Middendorf II. Show manager, Sanford L. Smith and Associates. Winter 1989
MUSEUM EXHIBITIONS "JOHN BLUNT/THE MAN,THE ARTIST AND HIS TIMES"[3/6-5/4/80]. Sponsor: National Endowment for the Arts. Curators: Robert Bishop,Joyce Hill and Heather Hamilton. Catalogue, Spring Clarion,"John Blunt: The Man,The Artist and His Times:' by Robert Bishop. Exhibition updates the retrospective held in 1976 at the Museum ofArt, University of Michigan, devoted to the Borden Limner, now tentatively identified by Robert Bishop as John Blunt. In conjunction with exhibition, Museum presents conservation lecture series. "ENGLISH NAIVE PAINTING"[5/16-8/31/80]. Curator: Andras Kalman. Catalogue, English Naive Paintings from the Collection ofMr. and Mrs. Andras Kalman, by Andras Kalman,published by Andras Kalman, London, England. First US appearance of Mr. & Mrs. Andras Kalman's collection ofEnglish naive paintings from 18th, 19th and 20th centuries. "WHIRLIGIGS & WIND TOYS: PROMISED BEQUEST FROM THE COLLECTION OF DOROTHYAND LEO RABKIN" [8/28-11/30/80]. Sponsor: Schlumberger Horizons, Inc. Curator: Patricia Coblentz. Catalogue, Summer/Fall Clarion, "Whirligigs, Wmdtoys and Woodcarvings: Promised Bequest From the Collection of Dorothy and Leo Rabkin' by Patricia Coblentz. Exhibition designed by Henry J. Prebys features 140 examples from 18th-20th century, each with a human figure. In cooperation with the Junior League of NYC,the Museum hosts two whirligig making workshops. "SMALL FOLK: A CELEBRATION OF CHILDHOOD IN AMIMICK simultaneously at the Museum and the New-York Historical Society 112 /1/ 280-2/1/81]. Sponsor: Seven-Up Co., a subsidiary ofPhillip Morris. Curators: Sandra Brant and Elissa Cullman. Text, Small Folk: A Celebration ofChildhood in America, by Sandra Brant and Elissa Cullman, published by E.P. Dutton & Co., NY,in association with Museum, 1980. Exhibition marks first comprehensive view of childhood from 17th to 19th century.
SATELLITE EXHIBITION "AMERICAN FOLK ART — THE VIEW FROM NEW YORK7 at the Nassau County Museum of Fine Art in Roslyn, NY [9/14-12/7/80]. Sponsors: Museum and Nassau County Museum of Fine Art. Curator: William C. Ketchum. Catalogue, Fall Clarion,"American Folk Art — The View From NY:'by William C. Ketchum. Exhibition features 200 objects from New York State.
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NEWS Museum celebrates 20th anniversary. Assistant Director Gerard C. Wertkin writes "The Museum At Twenty: Challenges and Perspectives" in Fall Clarion. Board of Trustees adopts "Collections Management Policy: prepared by Museum Registrar, Cordelia Rose, for responsible management of its collection. Howard and Jean Lipman donate personal library of books, pamphlets and catalogues to Museum. Museum's aim to establish first rate research library is becoming a reality — now approximately 2,500 volumes. Museum invited to decorate Christmas tree in the Blue Room of the White House. With only one month's notice, Marie Di Manno, Shop Manager, organizes search and selection of 800 handcrafted animal ornaments by contemporary folk crafts people. Reproduction of the Museum's Angel Gabriel weathervane by Pennsylvania craftsman David Clagget, "trumpets" atop the twenty-foot tree.
PEOPLE
PERMANENT COLLECTION
Cynthia V.A. (Mrs. Robert) Schaffner and Robert N. Wilson join Board of Trustees. Cordelia Hamilton and Herbert Waide Hemphill, Jr., named Trustees Emeriti.
Museum purchases collection of Howard and Jean Lipman and accessions 33 objects, including paintings, furniture and folk sculpture. Remainderof collection, nearly 420 works, auctioned in landmark sale at Sotheby's. Special Preview of "The Howard and Jean Lipman Collection of Important American Folk Art and Painted and Decorated Furniture; held to benefit Museum.
Marie S. Di Manno named Shop Manager; Anne W. Troutman named Editor of The Clarion; Bernice Duber named Membership Secretary; Jessica Schein named Bookkeeper; Irene Goodkind and Mary Buchan named Junior League Liaisons; Joyce Cowin, Cynthia VA. Schaffner, Irene Goodkind and Gwen Kale named Co-Chairpersons of Friends Committee; Lucy C. Danziger and Susan Klein named Docent Program Consultants; Phyllis A. Tepper named Docent Scheduling Coordinator; and Myra Shaskan named Librarian.
Eva Feld establishes "Eva and Morris Feld Folk Art Acquisition Fund"to assist Museum in building majorcollection. First accessions made possible through this grant are from Howard and Jean Lipman Collection of American Folk Art. In honor of Museum's efforts to preserve nation's quilts, The Xerox Corporation, as part "Anonymous Beauty" exhibition, awards grant to Museum for the conservation and mounting of quilts and other textiles from Museum's permanent collection. Museum produces color notecards,"Starsfrom the Collection of Museum; photographed and designed by Lorraine Engelhardt. Museum's permanentcollection now numbers oven 200 items. REPRODUCTIONS/HOME FURNISHINGS PROGRAM Museum's furniture line, "The America Collection; produced by the Lane Co. of Altavista, VA, is introduced by Hermine Mariaux, Director of Museum's Home Furnishings and Reproduction Program.
First Lady Nancy Reagan with Director Robert Bishop at the White House
1982
NEWS
Four Museum supporters buy 49, 51, 53 and 55 West 53rd St. and donate to the Museum! However, buildings house 24 rent controlled and stabilized tenants. Not one willing to move! After intensive negotiations, all but eight apartments vacated by end of 1983. More roadblocks! Museum's brownstones appear to be part of a "Landmark Preservation District" proposed by the City Planning Commission which would inhibit development plans. Last minute reprieve. Board of Estimate modifies mid-town zoning plan. The Museum's buildings are exempted from inclusion in the Preservation Sub-District. Eva Feld establishes "Eva and Morris Feld Building Fund" to assist Museum in the development of permanent Museum galleries and ancillary facilities.
Howard and Jean Lipman make major contribution for research, expansion of library and permanent collection, and design and installation of the works from Lipman Collection in proposed new facilities. Museum receives the maximum general operating support grant from Institute for Museum Services. Museum presents "Folk Arts of the World" as only American museum invited by State Department to represent US at UNESCO World Conference in Mexico City [7/82-8/82]. New street-level Museum Shop opens at 55 W. 53rd St. Greatly expanded and more accessible to the public, shop is staffed entirely by volunteers. 50
PEOPLE
PERMANENT COLLECTION
Judith A. Jedlicka joins Board of Trustees. Death of former Trustee Alice Burke.
Mr. and Mrs. Francis Andrews present ten important pieces of folk sculpture to Museum through the efforts of Jerome Blum of Lisbon, CT. Museum's permanent collection consists of more than 1,500 items.
Development Advisory Committee formed. Members: Theodore L. Kesselman, Executive VP. Bankers Trust Co.; Robert Meltzer, VP. Board of Triangle Pacific Corporation; Harold R. Talbot, Jr., Manager, Director, Marsh & McLennan International, Inc. Claire Hartman named Registrar; Joan G. Lowenthal named Director of Publications and Editor of The Clarion; Jessica Schein named Controller; Denice Czarnowski named Bookkeeper; Nancy Scaia named Membership Secretary; Irene Goodkind and Nancy Brown named CoChairpersons of Friends Committee; and Cheryl Mayer named Program Coordinator for Museum's Master's Program in Folk Art Studies at NYU.
Aiming to educate the public beyond its walls, the Museum, urged by Mabel H. Brandon and United Technologies' Gordon Bowman, organizes major international exhibition, "American Folk Art: Expressions of a New Spirit; from Museum's permanent collection. United Technologies Corporation funds show and oversized catalogue which is published in English, French and German. Show begins European tour in 1983, ultimately touring US and Canada through American Federation of Arts, before returning to NY to open Eva and Morris Feld Gallery at Lincoln Square in Apri11989. United Technologies Corporation continues support. REPRODUCTIONS/HOME FURNISHINGS PROGRAM Museum's Home Furnishings Program becomes a reality. The "America Collection" hits the stores! Collection includes 66 pieces of furniture either authenticated reproductions or Museum approved adaptations representing 200 years of American design. Product categories from shower curtains, to dinnerware to wood furniture. Bloomingdale's, NYC, rolls out the red carpet for opening night festivities, "America the Beautiful; featuring "America Collection; in three model rooms. In addition, American Express makes contribution to Museum when purchase is made with American Express card. American Express presents artisan demonstrations at Bloomingdale's. Painter Matte Lou O'Kelly is featured. The Clarion
EDUCATION Curator of Education Susan Saidenberg initiates "The Touch Collection:' which can be handled by visitors. Museum offers crafts courses in stencilling and quilting. Always a waiting list! In conjunction with NYU Department of Art and Art Education, Museum offers two year, 54 credit Master's Degree program with a concentration in Folk Art Studies. Program is first of its kind. All classes fully subscribed. Chemical Bank awards grant to Museum for publication of educational booklet "Quartet of Quilts" to accompany exhibition, "Anonymous Beauty': specifically for children and families. Museum presents symposium with Liberal Arts Program and NYU's School of Continuing Education at NYU Midtown Center, as well as quilt-making workshop.
SPECIAL EVENTS Sotheby's holds Special Preview for Museum's benefit prior to sale of Theodore Kapneck Collection of American Samplers. Lecture given by Davida Deutsch, noted collector of needlework. Third Fall Antiques Show at the Pier [9/24-9/27/811 Theme: "In Celebration: The Herb Garden!' Exhibition: "CELEBRATE THE GARDEN: SHAKER HERBS AND THEIR RELEVANCE TODAY7 Curator: Amy Bess Miller. Preview benefits Museum. Preview Benefit Co-Chairpersons Cynthia V.A. Schaffner and Karen S. Schuster. Honorary Chairpersons Mr. & Mrs. Harry Belafonte, Mr. & Mrs Tom Brokaw, Bess Myerson, Joseph Papp, Mr. & Mrs. Robert Redford and Andy Warhol. Show Manager, Sanford L. Smith and Association.
PUBLICATIONS
MUSEUM EXHIBITIONS "THE ICONS OF JOHN PERATES" 12/12-5/10/84 Sponsor: in part, National Endowment for the AM:Curator: Robert Bishop. Catalogue, Winter Clarion,"The Icons ofJohn Perates7 by Nora Lucas. Exhibit features 14 monumental caned and polychromed wooden icons created by Greek immigrant in Portland, ME,during the 1930's. Lecture by Panos Stathatos, Ph.D., distinguished Greek architect and art historian. "RECORDS OF PASSAGE/NEW ENGLAND ILLUMINATED MANUSCRIPTS IN THE FRAKTUR TRADITION" [2/12-5/10/81]. Sponsor: in part, The Buckingham Corporation. Curator: Philip Isaacson. Catalogue, Winter Clarion, "Records of Passage: New England Illuminated Manuscripts in the Fraktur Tradition' by Philip Isaacson. Exhibition of illuminated manuscripts from late 18th and early 19th century New England contrasts with better known Pennsylvania fraktur. Lecture by Phillip Isaacson and series of three crafts workshops,"The Craft of the Fraktur 'ANONYMOUS BEAUTY: QUILTS, COVERLETS AND BED COVERS/TEXTILE TREASURES FROM TWO CENTURIES" at Museum and Fashion Institute of Technology[4/18-8/23/81]. Sponsors: The Xerox Corporation, National Endowment for the Arts, Chemical Bank and Bates Fabrics, Inc. Curators: Dr.Judith Reiter Weissman(Museum),Jo Geise Brown (ELT.). Museum Catalogue, Spring/Summer Clarion,'Anonymous Beauty: Quilts, Coverlets, and Bedcovers — Textile Treasures From Two Centuries': by Dr.Judith Reiter Weissman. ELT. Catalogue,'Anonymous Beauty: Quilts — Textile Treasures from Two Centuries: by Jo Geise Brown, published by The Galleries at ELT,1981. Spring/Summer Clarion features, "Notes on ELT's Presentation ofAnonymous Beauty: Quilts, Coverlets, and Bedcovers — Textile Treasures From Two Centuries'," by Jo Geise Brown. Exhibition of 18th and 19th century American needlework masterpieces from Museum's permanent collection, private and institutional collections. "THE ART OF THE AMERICAN DECOY/FOLK SCULPTURE FROM THE COLLECTION OF MR.& MRS. DONAL C. O'BRIEN,JR."[9/2-11/15/81]. Sponsors: Remington Arms Co. and International Paper Co. Curator:Jeff Waingrow. Catalogue, Fall Clarion,"The American Decoy/Folk Sculpture from the Collection of Mr. and Mrs Donal C. O'Brien, by Jeff Waingrow. First major decoy show in NYC since 1966 focuses on distinct regional characteristics ofshorebirds and floaters. Museum presents informal lecture/demonstration by Dixon Merkt,"The Lure of the Dec'' "WOVEN FOR WORK:AMERICAN BASKETS"[11/25/81-2/14/82]. Curator:Judith A.Jedficka. Catalogue, Winter 1981/82 Clarion,"Woven For Work: American Baskets: by Judith A.Jedlicka. Spring 1980 Clarion features,'American Baskets' by Judith A.Jedlicka, Approximately 75 handwoven baskets from America's earliest settlements through 20th century from Judith A.Jedlicka's collection ofAmerican baskets, a promised bequest to the Museum. Workshops held. "A SELECTION FROM THE PERMANENT COLLECTION"[11/25/81-9/19/82]. Curator: Alice Kaplan. Checklist accompanies exhibit from Museum's permanent collection. RESTAURANT EXHIBITIONS Museum enters into agreement with Vista International Hotels to provide folk art exhibitions at Vista's American Harvest Restaurant in NYC. First exhibition features Pennsylvania chalkware collection from Effie Thixton Arthur.
MUSEUM EXHIBITIONS
Faye H. Eng and Anthony T. Yee become Art Directors for The Clarion with Winter 1982/1983 issue.
"FOLK ART MASTERPIECES: RECENT ACQUISITIONS FROM THE HOWARD AND JEAN LIPMAN COLLECTION" 12/24-9/19/84 Sponsor: Manufacturer's Hanover Trust. Curator: Robert Bishop. Catalogue, Winter 1981/82 Clarion, '7he Instinct to Collar by Anne W. Troutman, with Cordelia Rose. Part of ongoing 20th anniversary celebration
EDUCATION
"The CHALK MENAGERIE"[5/27-9/1/82]. Curator: Ravenna Pounds. Catalogue, Spring Clarion,"The Chalk Menagerie,' by Rowenna Pounds, with Suzanne Feldman. Museum's extensive 19th century Pennsylvania chalkware collection, a 1980 bequest from Effie Thixton Arthur.
Museum produces first folk art film festival at Donnell Library, NYC. Ten films shown. An "Afternoon with Grandma Moses at the Donnell Library features lecture by Jane Ka!lir, author of Grandma Moses: The Artist Behind the Myth, and a showing of Edward R. Murrow's 1955 filmed interview with the artist. Museum's Education Department offers, "World of Wood;first outreach kit developed for young school children; made possible through grant from the International Paper Company Foundation.
SPECIAL EVENTS Manhattan House Tour in seventh season. Reception at Rhinelander Mansion/Phillips-Fine Art Auctioneers and Appraisers. Phyllis Haders once again donates quilt for raffle. For fourth year, Mayor Koch proclaims American Folk Art Festival Week in NYC (9/15-10/3/82). Fourth Fall Antiques Show at the Pier [9/29-10/3/82]. Theme: "America at Home Exhibition: "GRENFELL RUGS7 Curator: Sally Nolan. Museum presents a Kentucky craftsperson weaving rag rugs. Preview benefits Museum. Preview Benefit Co-Chairpersons Karen S. Schuster and Cynthia V.A. Schaffner; Honorary Chairpersons Mr. & Mrs. Harry Belafonte, Mr. and Mrs. Tom Brokaw, Mr. and Mrs. Robert Redford and Phyllis George Brown. Show Manager Sanford L. Smith and Associates.
"THEAKT OFSCHERENSCHNITTE:SCISSORS-CUTTINGSBYHELEN VON STREICERNYCE"[5/27-9/19/82].Sponsor: Dr.Andrew Nyce. Curator: Rowenna Pounds. Catalogue, Spring Clarion,"TheArt ofScherenschnitte: Scissors-Cuttings by Helen von Streker Nyce7 by Amerind Pounds. A recent accession to the Museum's permanent collection, created between 1904-1926. Family workshops held. "A PRAIRIE VISION: THE WORLD OF OLOFICRANS"[9/29/82-1/2/83]. Sponsors: in part, Caterpillar Foundation and the Swedish Council ofAmerica. Curator: Merle Glick. Catalogue, Fall Clarion,"The World of OlafKrans:' by Merle H. Glick.In addition to ICrans'paintings, the exhibition features crafts which thrived in the Bishop Hill Society. Exhibition visited by His Majesty King Carl XVI Gustaf of Sweden and Her Majesty Queen Sylvia of Sweden. SATELLITE EXHIBITIONS "AMISH QUILTS"at The Everhart Museum ofScranton,PA[6/19-8/15/82].Sponsors: Museum and Everhart Musem.Curator: Beverly K. Black. Catalogue, Spring Clarion article, by Beverly K. Black. Selections from Museum's collection. "AMERICANS AT WORK AND PLAY: FOLK SCULPTURE FROM THE COLLECTION OF DOROTHY AND LEO RABKIN" at the Nassau County Museum of Fine Art, Roslyn, NY[10/23/82-1/9/83]. Sponsors: Museum and Nassau County Museum ofHne Art. Curators:Elizabeth V. Warren and Ann Dauberman,Catalogue, Americans at Work and Play/Folk Sculpture from the Collection ofDorothy and Leo Rabkin, by Ann Dauberman and Elizabeth V. Warren,published by Museum in conjunction with Nassau County Museum ofFine Art,1982.Exhibit highlights the functional and whimsical aspects of 19th and 20th century folk sculpture. "CHIEF WILLEY RETROSPECTIVE EXHIBIT:" at NYU's 80 Washington Square East Galleries[11/16-1213/84 Curator:Janice Vander Poel. Drawings and paintings by "The Chief'from 1970 until his death in 1980. RESTAURANT EXHIBITIONS Second year with Vista International Hotels brings to NYC American Haziest Restaurant: Whirligigs and windtoys from Collection of Dorothy and Leo Rabkin; decoys from Museum's Alastair B. Martin Collection; Shaker objects associated with food preparation. Museum sponsors,'A Shaker Sampler'," food festival.
PUBLICATIONS
SPECIAL EVENTS Museum offers one day excursion to New Jersey museums to view three folk art exhibitions.
Mrs. Margaret Zeigler donates "Margaret and Wesley Zeigler Library on the Pennsylvania Germans r Holdings include important books and pamphlets related to the Amish and other Pennsylvania German communities.
Museum receives "Award of Merit" from American Association of Museums in recognition of American Folk Art: Expressions of a New Spirit. Several invitations were also cited. Museum honored for excellence in magazine cover design by The American Institute of Graphic Arts. Spring 1982 and Spring/Summer 1983 covers of The Clarion appear in special exhibition and the AIGA Annual.
For the third consecutive year Museum receives general operating support grant from the Institute of Museum Services.
EDUCATION
NEWS Museum opens first satellite Museum Shop in Rockefeller Center Channel Gardens. Immediate success!
PEOPLE George F. Shaskan, Jr., and Theodore L. Kesselman join Board of Trustees. Development Advisory Committee welcomes Virginia W. Brieant, Director, Contributions to the Arts, Warner Communications, Inc.; Richard S. Locke, Executive VP., Public Finance, the E.F. Hutton Group; Richard G. Mund, Secretary and Executive Director, Mobil Foundation. Museum congratulates Michael McManus, Nancy Dorer, Valerie Redler and Cynthia Sutherland, first graduates from Museum's Master's Program in Folk Arts Studies at NYU. Nancy Dorer named Curator of Education; Edith Wise named Librarian; Joyce Hill named Curator of Permanent Collection; Mary Black, former Director of Museum, rejoins staff as Consulting Curator; Sheila Carlisle named Membership Secretary; Charles Salamey named Controller; Dr. Marilyn Karp named Director of Museum's Master's Program in Folk Art Studies at NYU; Judith Reiter Weissman named Program Coordinator for Master's Program at NYU. PERMANENT COLLECTION Through generosity of Cordelia Hamilton, Museum acquires Sunburst, by John Scholl (1827-1916), presented in honor of Mrs. Adele Earnest and in recognition of her research and continued contribution to the field of 18th and 19th century folk art. Sculpture is illustrated on cover of Fall Clarion, which features, "In Celebration of a Sunburst: The Sculpture of John Scholl; by Charlotte Emans.
Auction Gala at Sotheby Parke Bernet [4/14/83] for benefit of Museum. Sponsor: Shearson/American Express, Inc. Single most successful fund raising event in the Museum's history! Over $200,000 raised. Š Mara Kurtz
83
Museum and the American Folklife Center co-sponsor two-day meeting on folk art in Washington, D.C. at the Library of Congress. Museum sponsors lecture series at NYU's Midtown Center; all day seminar on American Folk Painting at the Junior League of NYC in conjunction with its Master's Program in Folk Art Studies at NYU; and lecture by Sybil and Arthur Kern, folk art historians, on "The Search or Stalking of the 19th Century Folk Artist; at Sotheby's. Museum offers four workshops on culinary topics, as well as three crafts workshops: stenciling, creating an Amish crib quilt, and bandbox making.
Trustee Jana Klauer and Peter and Karen Cohen,a Trustee, at the Auction Gala.
Assistant Director Gerard C. Wertkin with Deputy Mayor John Lankenau and Trustee Judith A. Jedlicka
For the fifth year, American Folk Art Festival Week proclaimed in NYC [10/3-10/9/83]. Fifth Fall Antique Show at the Pier [10/5-10/9/83]. Theme: "Hurrah for the Red, White and Bluer Exhibition: "UNCLE SAM: AN AMERICAN FOLK HERO 7 Curator: Jane Walentas. Winter 1982/83 Clarion features, "Uncle Sam: His Portrayal in American Folk Sculpture, by Jane Walentas. Preview benefits Museum. Preview Benefit Co-chairpersons, Karen S. Schuster and Cynthia VA. Schaffner. Show Manager, Sanford L. Smith & Associates.
Scholl's Sunburst
Uncle Sam at the Pier 52
Carleton Palmer
The Clarion
MUSEUM EXHIBITIONS THE SHAPE OF THINGS: FOLK SCULPTURE FROM TWO CENTURIES"[1/12-5/31/83]. Sponsor: in part, New York State Council on the Arts. Curator: Robert Bishop. Associate Curator: Mary Ann Demos. Catalogue, Winter 82/83 Clarion, The Shape of Things: Folk Sculpture From Two Centuries:' by Mary Ann Demos. Vigor and vitality ofAmerican folk sculpture from traditional forms through eccentric environments of the 20th century. "QUILTS FROM THE PENNSYLVANIA AMISH"[6/21-9/18/83]. Curator: Elizabeth V. Warren. Exhibit features 23 classic Lancaster County quilts on loan from private collections. Two satellite exhibitions are presented along with this exhibition. "THE MUSEUM COLLECTS: NEW DIRECTIONS, NEWACCESSIONS"[10/3-11/13/83]. Curator:Joyce Hill. Assistant Curator: Cynthia Sutherland. Catalogue, Fall Clarion,"The Museum Collects: New Directions, New Accessions:' by Joyce Hill and Cynthia Sutherland. Exhibition includes more than 60 recent acquisitions and documentary material. "CHILDREN'S CHILDREN:AMERICAN FOLK DOLLS"[11/22/83-2/26/84]. Sponsor: General Mills Toy Group. Curator: Wendy Lavitt. Texts, American Folk Dolls, by Wendy Lavitt, published by Knopf, NY, 1982 and Dolls, by Wendy Levitt, published by Chanticleer Press, 1983. Catalogue, Children's Children, by Wendy Levitt, published by Museum, 1983. Catalogue made possible by support from General Mills Toy Group. Fall Clarion features, "Children's Children: American Folk Dolls: by Wendy Lavitt. Exhibit of over 150 dolls highlights American ingenuity, spirit and resourcefulness during the Colonial days. Dollmaking workshop held for children at Citicorp Atrium, NYC.
"The and MliseUrne reflect the holdings are collective e,ye diverse donors...The sions... reveal the rece.nt ofrnany it:zooinfineitrnIcceeniitetonadcedfs Museum' accesco.ntinnwollthiacritl strengthen vide etas:nil; existing' formsrepresentationholdings or andlor of incl prouded." artists riot traditional atJoyce lily previously and ore Ctu., t Cynthia Co/lame onhe Sutherland, exhibition "The Museum
RESTAURANT EXHIBITIONS Museum in third year with Vista International Hotels adds Vista's Washington, DC American Harvest Restaurant. NYC exhibits include: Wood carvings from the Museum's collection; handmade dolls from the Museum's Catherine Wright Baxter Collection. Washington, DC exhibits include: Handmade dolls from Museum's Catherine Wright Baxter Collection, with decoys from the Museum's Alastair B. Martin Collection and scissors-cuttings by Helen Von Streker Nyce. Curator: Henry Niemann; and American chalkware from the Museum's Effie 'Thixton Arthur Collection with decoys from the Museum's Alastair B. Martin Collection. Curator: Charlotte M.Emans.
Possum Trot dolls from "The Shape of Things"
Children enjoying "Children's Children"
Bow Tie Variation from Pottinger Collection of Indiana Amish quilts
Carleton Palmer SATELLITE/TRAVELING EXHIBITIONS "AMERICAN FOLK ART: EXPRESSIONS OF A NEW SPIRIT" at Pavillon des Arts, Paris, France [4/27-5/27/83]. Sponsor: United Technologies Corporation. Curator: Robert Bishop. Associate Curators: Susan Klein, William Secord, and Gerard C. Wertkin. Text, American Folk Art: Expressions ofa New Spirit, edited by Patricia Coblentz, published by Museum, made possible by grant from United Technologies Corporation. After Paris show travels to Mwichnerstadt Museum, Munich [6/30-8/28/83],Altonaer Museum,Hamburg, West Germany [10/4/83-1/15/84], Barbican Art Gallery, Barbican Center, London [2/9-4/9/84]. "A PIECED PARADOX:AMISH CRIB QUILTS" at Equitable Gallery, NYC [6/6-8/31/83]. Curator: Dawn Wlegand. Exhibit features 18 midvvestem Amish crib quilts donated to Museum by David Pottinger and Pennsylvania quilts from private collections. "QUILTS FROM THE INDIANA AMISH:A REGIONAL COLLECTION"at City Gallery of Department of Cultural Affairs[6/27-8/21/83]. Sponsor: in part, National Endowment for the Arts. Curator: David Pottinger. Text, Quilts From the Indiana Amish: A Regional Collection, by David Pottinger, published by Museum in conjunction with E.P Dutton,Inc., NYC,1983. Checklist accompanies first NY exhibit focusing on regional characteristics ofIndiana Amish quilts.
Assistant Registrar Charlotte Emans, Registrar Claire Hartman, Guest Curator David Pottinger and photographer Susan Einstein. Winter 1989
"REFLECTIONS OF BMW/RELIGIOUS FOLK ART IN AMERICA"at IBM Gallery of Science and Art, NYC[12/9/83-1/28/84]. Sponsors: IBM Corporation and the National Endowment for the Arts. Curators: C. Kurt Dewhurst and Marsha MacDowell. Text, Reflections ofFaith/Religious Folk Art in America, by C. Kurt Dewhurst and Betty and Marsha MacDowell, published by Musem in association with ER Dutton, Inc., NY, 1983. First national exhibition to explore spiritual inspirations of the folk artist. Museum and New York Folklore Society co-host a three day symposium — "True Believers: Religious Folk Culture inAmerica" — at the IBM Gallery of Science and Art, NYC,made possible by grants from IBM and New York State Council for the Humanities. Museum's Education Department presents performances by folk artists. Series made possible through grant from National Endowment for the Arts, Folk Arts Division. 53
1984
Amish quilt from the Wigton Collection
NEWS Museum more than doubles its exhibition space by relocating galleries to 125 West 55th St. while awaiting development of West 53rd St. properties. Although administrative offices remain behind, spirits are high. Gallery, designed by Anne E. Bennett and Gordon T.H. Wallace of the design firm of Bennett Wallace, had originally been J.D. Rockefeller's carriage house. In subsequent years it served as the actor Tony Perkins'home, a jazz museum, restaurant and design studio. Museum establishes third shop in Gallery. Mayor Koch, accompanied by Commissioner of Cultural Affairs Bess Myerson cuts ceremonial ribbon with a large pair of carved and painted folk art scissors! PERMANENT COLLECTION William and Dede Wigton donate a collection of 22 Amish quilts of exceptional quality selected to reflect regional quiltmaking traditions identifiable to Amish communities in Lancaster County, PA., Mifflin County, PA., and in the Mid-west. Museum's permanent collection contains over 1,800 objects. REPRODUCTIONS/HOME FURNISHINGS PROGRAM Museum's Home Furnishings Program introduces "Shaker Furniture" at Fa111984 Furniture Market in High Point, NC. 16 pieces of furniture to be produced by The Lane Co., including the #7 Shaker rocker. To celebrate collection, Poster Originals Inc. produces poster based on 19th century watercolor by Joshua Bussell, an elder of the Alfred, Maine Shaker Community.
Museum's new gallery on West 55th Street; Director Robert Bishop helps Mayor Ed Koch cut the ribbon
PEOPLE Maureen (Mrs. Richard) Taylor rejoins Board of Trustees. Mabel H. (Mrs. Henry) Brandon, Karen D.(Mrs. Peter) Cohen, Kathryn (Mrs. Robert) Steinberg, Bonnie(Mrs. Thomas) Strauss and Ambassador Helene Von Damm join Board of Trustees. Entrance fee at the Museum doubles once more —$2.00 for adults and $1.00 for senior citizens and students. Museum receives general operating support grant from the Institute of Museum Services for another year. Library now contains over 5,000 volumes.
Development Advisory Committee welcomes Jeanne R. Kerr, VP. Corporate Contributions, Time Incorporated; Marian Z. Stern, Assistant VP., Community Programming Chemical Bank and Dee Topol, Manager, Shearson/ American Express Contributions Program. Elizabeth V Warren named Curator; Joyce Hill named Consulting Research Curator; Diane Finore named Director of Special Projects; Carleton Palmer named Staff Photographer.
54
#7 Shaker rocker reproduction
PUBLICATIONS Museum introduces Membership Newsletter/Calendar mailed to members 3 times a year highlighting exhibitions, workshops and lectures, Friends Committee, Shop and membership news. The Clarion takes on a new coat — perfect bound format — not before winning American Association of Museums Award of Merit in 1984 Museum Publications Competition for two issues — Fall 1983 and Winter 1984. The Clarion
MUSEUM EXHIBITIONS "Polk art is heart, their that sorhethiugyou do ability people did it's from to YoU the the can't has something to be you create beat of a have to folk art; irierit„your prOdtlet of hire, ahd your it cu/ture, da.raes 0. your teene, environCo//eotoz. hatioria/ity,"
"A KEENE EYE: SELECTIONS FROM THE AMERICAN FOLK ART COLLECTION OF MR.& MRS.JAMES 0. KEENE"of Birmingham, Michigan [4/23-6/17/84). Sponsor: Shearson/American Express. Curator: Charlotte M.Emans. Catalogue, Spring/Summer Clarion, 'The Keene Eye: Selections from the American Folk Art Collection of Mr. and Mrs.James 0. Keene': by Charlotte M. Emans. Exhibit features range of objects representing melting pot of nationalities and artistic tastes. "CROSS CURRENTS: FACES, FIGUREHEADS AND SCRIMSHAW FANCIES"[6/26-9/2/84 Sponsor: in part, National Endowment for the Arts and New York State Council on the Arts. Curator:Joyce Hill. Checklist accompanies exhibition of objects associated with whaling of the 19th century. New research traces three rarely explored painters of sea captains along the Eastern seaboard — Isaac Sheffield, Orlando Hand Bears and Frederick Mayhew Spring/Summer. Clarion features, "Cross Currents: Faces, Figureheads and Scrimshaw Fancies:' by Joyce Hill.
Portrait by Isaac Sheffield from "Cross Currents"
EDUCATION Museum's Folk Art Studies Program at NYU now offers degrees at the Doctoral as well as Master's level. Two concentrated summer semesters are offered in conjunction with Master's/Ph.D. Program. "Folk Art in New York City" features a week of daily lectures given by recognized experts with visits to museums and private collections. "Folk Art in Cooperstown" given in conjunction with New York State Historical Association at Fenimore House in Cooperstown, NY, features week long series of lectures on American social, community and oral history, genealogy and museum practices. Education Department presents Spring lecture series, "The Experts' Expertise: The Museum Speaks" at Presbyterian Church, NYC, and Fall lecture series, "American Folk Paintings" at the Museum. Fall Field Trips include "Folk Art: Finding It, Framing It, Conserving It; as well as two walking tours — Trinity Churchyard and the history and food of Italian and Ukrainian neighborhoods. By popular request, Education Department presents three handson workshops: rug hooking, melon baskets, and piecing, appliqueing and quilting. Junior League of NYC hosts one day folk art seminar where six papers are presented by graduate students in Museum's Master's/Ph.D. Program in Folk Art Studies at NYU. The Academy, an innovative two-part program, explores, through workshops and lectures, the curricula taught in American female academies of the late 18th and early 19th centuries. Part I is held at Fifth Avenue Presbyterian Church. Open to members and general public. SPECIAL EVENTS Manhattan House Tour celebrates eighth season. Following tour, reception at Ricco-Johnson Gallery. Both Phyllis Haders and Laura Fisher donate quilts for raffle. Sixth Fall Antiques show at the Pier [10/24-10/27/84] Theme: From Hearts and Hands; Exhibition: "FOLK HEARTS; Sponsor: Ethan Allen, Inc. Curators: Cynthia V.A. Schaffner and Susan Klein. Text, Folk Hearts: A Celebration of the Heart Motifin American Folk Art from 1660(0 1880, by Cynthia V.A. Schaffner and Susan Klein, published by Alfred A. Knopf, 1984. Preview benefits Museum. Preview Benefit Co-Chairpersons, Karen S. Schuster and Cynthia V.A. Schaffner. Honorary Chairman, Nathan S. Ancell, Chairman of Ethan Allan, Inc. Show manager, Sanford L. Smith and Associates. 'An American Folk Art Christmas; presented by Museum at the Market at Citicorp Center, New York City [12/1-12/7/84]offers Christmas workshops, folk craft demonstrations and traditional American folk music and dance. Entire program made possible through The Market at Citicorp Center. Winter 1989
"THE WORLD OF GRANDMA MOSES"[9/12-10/28-84]. Sponsor: American Express Company. Organized by the International Exhibition Foundation. Curator:Jane Kallir. Catalogue, The World of Grandma Moses, by Jane Kallir, published by the International Exhibitions Foundation, 1984. Grandma Moses' paintings examined in an "art historical context tracing sources, techniques and stylistic growth:' "WINNING MOVES:PAINTED GAMEBOARDS OF NORTH AMERICA"[12/18/84-3/3-84 Sponsor: General Mills Toy Group. Curators: Bruce J. & Doranna Wendel. Text, Winning Moves: Painted Gameboards ofNorth America, by Bruce J. & Doranna VVendel, published by Museum in conjunction with ER Dutton, Inc., NY, 1985. Checklist accompanies first exhibition of early gameboards. Winter 1985 Clarion features "Winning Moves: Painted Gameboards of NA'by Bruce]. and Doranna Wendel. Workshop held for children.
Grandma Moses' The Dividing of the Ways from the permanent collection
"MARRIAGE MILESTONES: 10th WEDDING ANNIVERSARY TIN" [12/18/84-3/3/851 Curators: Nancy and James D. Clokey,III. Catalogue, Winter Clarion,"Milestones/Tenth Wedding Anniversary Tin:' by Nancy &James D. Clokey, III. Exhibit of50 tin objects given as tenth anniversary gifts in the late 19th and early 20th century. "ERASTUS SALISBURY FIELD"[10/31-12/9/84] and Metropolitan Museum ofArt[10/31/84-1/15/85]. Sponsors: Mr. and Mrs. Herbert M.Singer and the Bemhill Fund. Organized by Museum ofFine Arts, Springfield, MA. Curator: Mary Black. Catalogue, Erastus Salisbury Field: 1805-1900, by Mary Black, published by Museum of Fine Arts, Springfield, MA, 1984. Museum and Metropolitan Museum ofArt jointly present exhibition of over 100 paintings by Erastus Salisbury Field.
Tin apron from "Marriage Milestones"
SATELLITE/TRAVELING EXHIBITIONS "THE JEWISH HERITAGE IN AMERICAN FOLK ART" at the Jewish Museum, NYC[11/8/84-3/15/85]. Sponsors: National Endowment for the Arts, the New York State Council for the Arts, the Joe and Emily Law Foundation and Mr. and Mrs. Samuel Schwartz. Curators: Gerard C. Wertkin and Norman L. Kleeblatt. Consulting Curator: Mary Black. Text, The Jewish Heritage in American Folk Art, essays by Gerard C. Wertkin, Norman L. Kleeblatt, and Mary Black, published by Universe Books, NY, 1984. Fall Clarion features, "The Jewish Heritage in American Folk Air by Gerard C. Wertkin. Museum and The Jewish Museum jointly present first in-depth study relating folk art to Jewish experience in US from 18th century to present. Exhibit travels. "AMERICAN FOLK ART: EXPRESSIONS OF A NEW SPIRIT" returns to U.S. to begin national tour. Minneapolis Institute of Arts, Minneapolis, MN[7/4-9/16/84];John Deere Company, Moline, IL [10/14-12/9/843.
RESTAURANT EXHIBITIONS NY exhibits at Vista International Hotels'American Harvest Restaurants: Homemade dolls. Washington, DC exhibits: Folk sculpture of Norton Latourelle, contemporary artist. Museum enters into agreement with RAROC,Inc. and Rockefeller Center Properties to provide exhibitions at the American Festival Cafe, Rockefeller Center, NYC, through 1999. Exhibitions organized by guest curator William C. Ketchum,Jr. To celebrate opening ofAmerican Festival Cafe and The Sea Grill, Restaurant Associates sponsors benefit for the Museum, a "Strolling Feast ofAmerican Cuisine'
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EDUCATION
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NEWS Linn Smith interviews Robert Bishop in the January issue of Art & Auction saying he is "turning the museum world on its conservative, collective ear:' Museum receives grant from H.W. Wilson Foundation and the National Endowment for the Arts for cataloguing and integrating into Museum's library Director Robert Bishop's promised gift of more than 4,000 books, catalogues, periodicals and ephemeral material — including rare and out-of-print materials that cannot be found in any other library in the New York metropolitan area. Museum librarian Edith Wise directs extensive project. Museum's library now contains over 6,000 volumes. Inauguration of Joseph B. Martinson Gallery, first endowed gallery, generously funded by Joseph B. Martinson Memorial Fund. Gallery to highlight Museum's permanent collection. PEOPLE Adele Earnest, founding Trustee, named Trustee Emeritus. Death of Trustee Emeritus Marian Willard Johnson, a founding Trustee and owner of Willard Gallery in NYC. Museum initiates National Advisory Council. Members include Chairperson Frances S. Martinson, Mary Black, Gray Boone, David Davies, Howard M. Graff, Lewis I. Haber, Phyllis Haders, Barbara Kaufman, Anne Baxter Klee, Robert Meltzer, George Meyer, Paul Oppenheimer, Alfred R. Shands III, and Hume R. Steyer. Didi Barrett named Director of Publications and Editor of The Clarion: Claire Hartman Schadler named Director of Exhibitions; Francine Flynn named Registrar; Carolyn Cohen named Special Events Director; Barbara Wahl Kaufman named Director of Folk Art Institute; Thomas M. Exton named Director of Development; Dennis Duke named Director of The Great American Quilt Festival; Cecilia K. Toth and Jane Walentas named Co-chair Friends Committee; Susan Moore named Junior League Liaison; Kennetha Stewart named Exhibitions Previews Coordinator.
Newly established Folk Art Institute, a Museum integrated postbaccalaureate, 36 credit, program leading to a certificate in folk art studies offers first courses in September. Institute supported by Eva Feld and Mr. and Mrs. Herbert Singer. Trustee Barbara Johnson establishes scholarship fund in memory of Bruce Johnson, former Museum Director. Museum's Master's/Ph.D. Program in Folk Art Studies at NYU continues in its fifth year.
REPRODUCTIONS/HOME FURNISHINGS PROGRAM Museum introduces second collection, "America West; which celebrates the pioneering spirit of the American frontier through reproductions and approved adaptations of handcrafted furniture first created in the West and Southwest during the 18th and 19th centuries. Museum's home furnishings are available, as one reporter put it, in an "unheard of 22,000 stores across the US and 17 in Japan': PUBLICATIONS Museum receives publishing and design prizes: Catalogue The Jewish Heritage in American Folk Art, wins honorable mention in the Henry Allen Moe Prize; four brochures win recognition in American Association of Museum's Publications Competition — Award of distinction to "Winning Moves: Painted Gameboards of North America" and awards of merit to "Continuity & Change" exhibition checklist and the programs for "The Academy: Part l" and "The Academy: Part 117
Folk Art Institute Director Barbara Kaufman Cate with Barbara Johnson,the Singers, and Eva Feld
"The Academy: Part II" presented at St. Bartholomew's Church, NYC, a one-day conference devoted to school and leisure activities of 18th and 19th century academy students. Museum's Education Department also presents six-part lecture series on "American Folk Sculpture Third annual "Seminar on American Folk Art" at which students in Master's/Ph.D. program in Folk Art Studies at NYU present new research. Education Department presents "Folk Art: Finding it in New York City Galleries; a series of day trips. Museum and The Association for Gravestone Studies co-sponsor the Ninth Annual Meeting and Conference at Rutgers University, New Brunswick, NJ. In conjunction with exhibition "SOUTHERN FOLK ART; Museum receives Library Resource Education Program Grant from National Endowment for the Humanities, a pilot project to integrate library resources with exhibition programs by providing on-site library collection for visitors to the Museum. Grant enabled Museum Librarian Edith Wise and Assistant Director Gerard C. Wertkin to develop comprehensive bibliography of Southern folk art and artists, Southern Folk Art: A Bibliographical Guide to Sources in the Library of the Museum. Grant also supports symposium "Southern Folk Art; at Mark Goodson Theater.
Carousel Horse,gift of Laura Harding,joined the permanent collection in 1978
PERMANENT COLLECTION Museum's permanent collection contains over 2,000 objects.
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The Clarion
MUSEUM EXHIBITIONS "MADE IN NEW YORK STATE: HANDWOVEN COVERLETS, 1820-1860"[3/20-4/28/853. Sponsors: National Endowment for the Arts, NYS Council on the Arts, the Gallery Association of NYS,private individuals and foundations. Organized by Margaret Schaeffer, Director ofJefferson Country Historical Society, Watertown, NY. Curator: Virginia Parslow Partridge. Catalogue. Made in New York State; Handwoven Coverlets, 1820-1860, by Virginia Parslow Partridge, published by Publishing Center for Cultural Resources, Watertown, NY, 1984. Winter Clarion features,"Made in New York State: Hand-Woven Coverlets, 1820-186(X' by Virginia Parslow Partridge. Exhibit features documents and 20 New York State coverlets. Museum's Education Department presents two lecture/demonstrations by professional textile designers who use computers in creating waving patterns.
SPECIAL EVENTS
Red and white coverlet from "Made in New York State"
"CONTINUITY & CHANGE:AMISH QUILTS FROM THE WILLIAM AND DEDE WIGTON COLLECTION OF THE MUSEUM OF AMERICAN FOLK ART" 13/20-4/28/851. Curator: Elizabeth V. Warren. Checklist accompanies exhibition. Winter Clarion features, "Continuity and Change: Amish Quilts from the VVilliam and Dale VVigton Collection of the Museum ofAmerican Folk Art" by Elizabeth V. Warren. Exhibit presents the VVigton's gift to the Museum of 22Amish quilts from Lancaster and Mifflin Counties in PA and OH. Following Museum exhibition, quilts presented at NYU Loeb Center 17/25-9/9/851 prior to embarking on national tour.
Seventh Fall Antiques show at the Pier [10/23-10/27/85]. Theme: 'In Celebration: The American Frontier:' Exhibition: "SOUTHERN FOLK ART"[5/15-8/25/85). Sponsors: Philip Morris Inc. and National Endowment for the Arts. Curator: Cynthia Elyce Rubin. Text, Southern Folk "WINDMILL WEIGHTS: A Art, edited by Cynthia Elyce Rubin, published by Oxmoor House,Inc., 1985. Spring/Summer Clarion features,"Southern Exposure: One Curator in Search of an Exhibition" by Cynthia Elyce Rubin. Landmark presentation of the folk heritage of the American south featuring 90 objects all produced between 1743-1915. FollowFOLK ART FRONTIER! Sponing NY,show travels to Birmingham Museum ofArt, Birmingham,AL[10/1-12/15/851; Tennessee State Museum, Nashville, TN [1/2-3/1/861; Mint Museum ofArt, sor: American Express ComCharlotte, NC[3/25-5/25/86]; the Valentine Museum,Richmond, VA [6/15-8/30/861;J.B. Speed Art Museum,Louisville, KY 19/28-11/30/861. pany, on behalf of American SerExpress Travel Related 'AMERICAN NAIVE PAINTINGS FROM THE NATIONAL GALLERY OF ART"[9/10-12/1/85]. Sponsors: International Exhibition Foundation and the National Galvices Company, Inc., Amerilery. Curators: Deborah Chotner and Nicolai Cikovsky,Jr. Text, American Naive Paintings from the National Gallery ofArt, by Deborah Chotner and Julie can Express Bank Ltd., Aronson, published by National Gallery of Art, Washington. DC,1985. Exhibit featuring 60paintings from collection given by Edgar WIlliam and Bernice Shearson Lehman Brothers, Chrysler Garbisch to National Gallery. In conjunction, Museum and Inc., IDS Financial Services American Folk Art Society present important weekend symposium, Inc. and Fireman's Fund Insur- "American Naive Paintings/A Tribute to Colonel Edgar William and ance Companies. Curator: Milt Bernice Chrysler Garbisch" at Sotheby's NYC. More than 110 attend. Simpson. Text, Windmill "FOUR CHILDREN IN RED BY AMMI PHILLIPS" Weights, by Milt Simpson, 312/10/85-2/16/863. Curator: Mary Black. Winter 1986 Clarion published by Johnson and features, "Children in Red by Amin Phillips" by Mary Black. Ground Simpson Graphic Designers, breaking exhibition offour similarly posed children in red allows viewer 1985. Fall Clarion features, to compare Phillips' working methods. Show travels to Terra Museum 'Windmill Weights/Sculpture ofAmerican Art, Chicago,IL. 13/7-4/27/861. in the Midwestern Sky! by Milt TO ZEBRA: A MENAGERIE OF NEW MEXICAN WOODCARV"APE Simpson. Preview benefits INGS/THE ANIMAL CARNIVAL COLLECTION OF THE MUSEUM Anonymous Cat from Museum. Preview Benefit CoOF AMERICAN FOLK ART"[12/10/85-2/16/861. Curator: Elizabeth Garbisch Collection; Seated chairpersons, Karen S. (Mrs. Dixon) Wecter. Catalogue, Ape to Zebra: A Menagerie of Tiger by Felipe Archuleta Schuster and Cynthia V.A. New Mexican Woodcarvings/The Animal Carnival Collecfrom "Ape to Zebra:' Schaffner. Honorary Chairpertion ofthe Museum ofAmerican Folk Art, by Elizabeth sons, Mr. and Mrs. Peter CoWecter published by Museum, 1985. Winter 1986 Clarion features, "Animal Carvers of New Mexico" by Elizabeth VVecter. Exhibit features a hen; Mr. and Mrs. Dwight portion of collection of contemporary animal carvings donated by ElizFaulkner. Show Manager, Sanabeth Wecter. Also presented at Mexican Museum in San Francisco. ford L. Smith & Associates.
Choreographer Geoffrey Holder
'AN ART OF DECEPTION:AMERICAN WILDFOWL DECOYS" [12/10/85-2/16/861. Curator:Jeff Waingrow. Text, American Wildfowl Decoys, by Jeff Waingrow, published by E.P. Dutton, NY, 1985.(Color photographs by Museum Photographer, Carlton Palmer.) Exhibit presents 60 of the best decoys from Museum's permanent collection.
SATELLITE/TRAVELING EXHIBITIONS Restaurant Associates Inc. sponsors gala dinner benefit, 'Terrapins, Tortoises and Turtles; for Museum at the American Festival Cafe. Honored guest is George the Tortoise, celebrating his 184th birthday! George, once a member of Queen Victoria's Court, now resides with Trustee Barbara Johnson. Society for Prevention of Cruelty to Animals and Endangered Species sends representatives to George's Birthday celebration to ensure his safety! Benefit features Geoffrey Holder's new dance, 'The Tortoise Nimble!
Winter 1989
Joseph McDonald
"AMERICAN FOLK ART: EXPRESSIONS OF A NEW SPIRIT" continues its itinerary at Portland Museum ofArt, Portland, OR [1/13-3/10/853, Phoenix Art Museum, Phoenix, AZ[4/14-6/16/851. 'A TIME TO REAP: LATE BLOOMING FOLK ARTISTS" at Scion Hall University, South Orange, NJ [11/9-12/7/851. Sponsors: Museum.Scion Hall University, NJ Committee for the Humanities, and NJ Council on the Arts. Curators: Barbara Wahl Kaufman and Didi Barrett. Consultant: Herbert Waide Hemphill,Jr. Catalogue, A Time To Reap: Late Blooming Folk Artists, by Barbara Wahl Kaufman and Didi Barrett, published by Museum, NY, 1985. Fall 1988 Clarion features'A Time to Reap" by Didi Barrett. Exhibition features work of50 late-life artists who have had little or no formal training.
RESTAURANT EXHIBITIONS Fifth year at Vista International Hotels' American Harvest Restaurants: NY features objects from the collection of Helaine and Burt Fendelman. Washington, DC features sculpture ofcontemporary craftsman William Jauquet. At American Festival Cafe: Exhibit of 20th century folk paintings; bottled images. Curator: William C. Ketchum,Jr. Exhibit offolk turtles from George Meyer's collection, and others. Curator: George H. Meyer. Vista's General Manager Eddy Florijn, center, with Helaine and Burt Fendelman
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PEOPLE
EDUCATION
Daniel Cowin joins Board of Trustees.
Folk Art Institute accredited by National Association of Schools of Art and Design. Institute great success —first two semesters, all classes fully subscribed.
Michael McManus named Director of Exhibitions; AnneMarie Reilly named Registrar; Johleen Nester named Director of Development; Charlotte Sonnenblick named Membership Director; Janey Fire and Karla Friedlich head Photographic Services; Barbara Kaufman Cate becomes Director of Education in addition to Director of Folk Art Institute. PERMANENT COLLECTION Museum's permanent collection contains more than 2,400 objects.
Museum's Education Department presents fourth annual Seminar on American Folk Art, with presentations by students in Museum's Master's/Ph.D. Program in Folk Art Studies at NYU at the Junior League of NYC. SPECIAL EVENTS The Great American Quilt Festival is held at NYC Exhibition Pier in celebration of the Statue of Liberty Centennial [4/24-4/27/86]. Sponsor: Scotchgard brand products. Director: Dennis Duke. Special Souvenir Issue of The Clarion (Spring/Summer 1986). Festival managed by Sanford L. Smith and Associates. Festival attracts 25,000 people from around the world for exhibitions, quilting demonstrations, lectures, workshops, wearable art fashion show and booths of antique quilts, books and quilting supplies. First Lady of Hawaii Jean Ariyoshi attends Hawaii night celebration.
Museum, awarded maximum Advancement Grant from the National Endowment for the Arts, is one of 35 arts organizations to be recognized and one of 11 in NY. Preparatory grant of $10,000 and implementation award of $75,000 enable Museum to develop a long-range operational plan and fulfill specific needs. Initiates fundraising campaign to match each federal dollar with $3 of non-federal funds before 12/88. All monies used to maintain Museum programming, exhibitions, and educational projects. New York Quilt Project launched under directorship of Phyllis A. Tepper. Mission of project is to locate, document, and research historic NYS quilts made prior to 1940. The project will result in an exhibition, book and archive at Museum on quilting in NY State. Museum loses lease at 125 West 55th St. Administrative offices, library, and Folk Art Institute relocate to 444 Park Avenue South. Museum, without regular exhibition space, renews efforts to mount traveling exhibition series and launches all-out campaign to secure "public spaces" to present folk art exhibitions in NYC. Museum Book and Gift Shop moves to new and enlarged quarters at 62 West 50th St., opposite Radio City Music Hall. Number of visitors increases sharply! Volunteers continue to be lifeline of Shop. Special thank you to Volunteer Coordinator, Sally O'Day, Shop Managers, Caroline Hohenrath and Rita Pollitt. Museum displays photographs of folk art objects at newly refurbished and restored IND subway station at 53rd St. and Fifth Ave.
Carleton Palmer
NEWS REPRODUCTIONS/HOME FURNISHINGS PROGRAM "America Collection" celebrates fifth anniversary. Over the years a collection of more than 140 pieces of furniture has been developed. "American Wicker" from Venture, division of Lane, adds 13 new pieces to collection. PUBLICATIONS The Clarion selected for indexing in Art Index. First in-house index to The Clarion covering 1971-1986 is prepared under the direction of Museum Librarian Edith Wise, by Joseph La Shiavo of the Fordham University Library, a former indexer for Art Index. Index, to be updated each year, is invaluable tool for scholars and public at large. Gale Research Company, with Museum, publishes Folk Artists Biographical Index, edited by George H. Meyer.
Jean Ariyoshi with Director Robert Bishop
Exhibitions include: "EXPRESSIONS OF LIBERTY; 52 winners of The Great American Quilt Contest. Sponsor: Scotchgard brand products. Text, All Flags Flying: American Patriotic Quilts as Expressions of Liberty, by Robert Bishop and Carter Houck, published by E.P. Dutton, NY, 1986; Exhibition travels for two years through US and Japan; "MADE IN USA; 19th century quilts from Museum's collection. Sponsor: J.C. Penney. Curator: Elizabeth V Warren. Checklist accompanies exhibition which then travels; "CRAZY FOR QUILTS; 5 crazy quilts from Margaret Cavigga Collection at the Museum. Curator: Elizabeth V Warren. Checklist accompanies exhibition; "CONTINUITY AND CHANGE;15 Amish quilts from Permanent Collection. Curator: Elizabeth V Warren. Checklist accompanies exhibition; "SMALL SENSATIONS; doll and crib quilts, sewing birds and thimbles. Sponsor: Judy Boisson. Curator: Sharon Eisenstat. Checklist accompanies exhibition; "QUILTS FANTASTIC;4 contemporary quilts celebrating the arts; "WORKSHOP TEACHERS' COLLECTION; work by leading contemporary quilters;'SO PROUDLY WE HAIL; banners from each state made by individuals or guilds; and "FROM SEA TO SHINING SEA; 1,000 foot banner by National Needlework Association. To commemorate festival, Friends Committee, urged by Myra Shaskan, presents Museum with quilt conceived and designed by Kennetha Stewart and executed by Marsha Evans Moore. Eighth Fall Antiques Show at the Pier [10/22-10/25/86]. Theme: "In Celebration/Children and Thrift; Exhibition: "A PENNY SAVED: CHILDREN AND MECHANICAL BANKS; Sponsor: American Express Company. Curators: Alvan and Claude Bisnoff. Preview benefits Museum. Preview Benefit Co-Chairpersons, Karen S. Schuster and Cynthia VA. Schaffner. Show Manager Sanford L. Smith & Associates.
Folk Art in the subway
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The Clarion
MUSEUM EXHIBITIONS "LIBERTIES WITH LIBERTY: THE CHANGING OF AN AMERICAN SYMBOL"[2/25-5/18/86]. Sponsor: The Xerox Foundation. Curator: Nancy Jo Fox. Text, Liberties with Liberty, by NancyJo Fox, published by Museum in association with E.P. Dutton, 1986. Winter 1986 Clarion features, "Liberties with Liberty: The Changing of an American Symbol': by Nancy Jo Fox. Exhibit features 85 objects highlighting the changing image of the personification of Liberty. Funded by The Xerox Corporation, 500 poster sets published and sent to all 50 state governors' offices, and 188 embassies and consulates worldwide. Exhibition travels to The Pavilion at LTV Center, Dallas, TX in cooperation with Dallas Historical Society[6/15-7/20/86], Terra Museum of American Art, Chicago,IL [8/12-11/2/86], Illinois State Museum, Springfield, IL[11/23/86-1/25/87], Detroit Historical Museum,Detroit, MI[2/10-4/26/87], Craft and Folk Art Museum,Los Angeles, CA [6/1-7/26/87]. "OFF THE WALLS: EXCEPTIONAL QUILTS FROM PRIVATE NEW YORK CITY COLLECTIONS"[5/27-6/27/86]. Curator: Elizabeth V. Warren. Guest Curator: Cynthia V.A. Schaffner. Final presentation in Museum's 55th St. gallery features quilts never before shown publicly as well as a group of Mifflin County,PA,Amish "make-do" pin cushions from the collection of Willa and Joseph Rosenberg.
Xerox's Bette Kucklick with Director Robert Bishop at the opening of "Liberties with Liberty"
Schecter Lee
SATELLITE/TRAVELING EXHIBITIONS 'AMERICAN FOLK ART: EXPRESSIONS OF A NEW SPIRIT" at the Columbus Art Museum, Columbus, OH [2/9-4/6/86], Fort Wcvne Museum ofArt, Fort Wayne, IN [5/11-7/20/86], Musee de la Civilization La Vieux Bart, Quebec, Canada [9/7-11/9/86], Koffler Gallery, Toronto, Ontario, Canaca [12/9/86-1/30/87]. "EARL CUNNINGHAM: HIS CAREFREE AMERICAN WORLD"from the Michael and Marilyn Mennen° Collection, at NYU's 80 Washington Square East Galleries. Sponsors: Museum, NYU and The Center for American Art. Curator: Henry Niemann. Exhibit features 60 oils by Earl Cunningham, a 20th century folk artist and antiques dealer who settled in St. Augustine, FL. A gala preview is hosted by the US Senator from FL, Paula Hawkins, Metropolitan Opera star, Roberta Peters, and Mr. and Mrs. Michael Mennello. Following NY presentation, exhibition begins tour. "MUFFLED VOICES: FOLK ARTISTS IN CONTEMPORARY AMERICA"at PaineWebber Art Gallery, NYC[5/27-9/14/86]. Sponsor: PaineWebber Group,Inc. Curator: Didi Barrett. Catalogue, Muffled Voices: Folk Artists in Contemporary America, by Didi Barrett, published by Museum,1986. Ground breaking exhibition focusing on the work of 28 selftaught 20th century folk artists who produced the bulk of their work after WWII. "YOUNG AMERICA:A FOLK ART HISTORY" at IBM Gallery of Science and Art, NYC[9/30-11/15/86]. Sponsor:IBM Corporation. Exhibit conceived and organized by Jean Lipman. Curator: Elizabeth V Warren.Associate Curator: Mary Ann Demos. Text, Young America/A Folk Art History, by Jean Lipman, Elizabeth V Warren and Robert Bishop, published by Hudson Hills Press, 1986. Fall Clarion features "The Search For Young America: by Mary Ann Demos. Landmark exhibition presenting folk artists' views of the history of US from the Revolution to end of WWI.Show travels to Tucson Museum ofArt, Tucson,AZ[1/24/87-3/15/87], Henry Ford Museum and Greenfield Village, Dearborn, MI[4/6/87-9/13/87]; Mint Museum ofArt, Charlotte, NC[10/5/87-1/3/88]; and Terra Museum ofAmercan Art, Chicago, IL [2/15/88-4/24/88]. Museum offers lecture series at IBM Gallery Auditorium, made possible by grant from New York State Council for the Humanities. More than 250 attend lecture series. Foreign Lady Waving American igg by Jon Serl from "Muffled Voices:" PaineWebber's Donald Marron with carousel collector Charlotte Dinger
"CATCH A BRASS RING: CAROUSEL ART FROM THE CHARLOTTE DINGER COLLECTION"at the PaineWebber Art Gallery, NYC [11/24/86-3/28/87]. Sponsor: PaineWebber Group, Inc. Curator: Charlotte Dinger. Text, Art ofthe Carousel, by Charlotte Dinger, published by Carousel Art, Green Village, NJ, 1987. Exhibit features 40 animals and related sculpture in The Country Fair style — portable horses and farm animals; The Philadelphia style — elegant and richly decorated; and The Coney Island style — flamboyant and flashy. Show travels. "DIFFERENT DRUMMERS:A SELECTION FROM THE PERMANENT COLLECTION OF MUSEUM OF AMERICAN FOLK ART" at Olympia and York's Park Avenue Atrium Gallery [12/1/86-1/23/87]. Sponsor: Olympia and York. Curator: Ludwig Dame. Checklist accompanies exhibition of74 paintings and sculpture, highlighting "outsider art" and "idiosyncratic creations" by unknown folk artists of the 19th and 20th centuries.
1986 Trudeau Studio
Tinsmith Pushing a Grinding Wheel from "Young America"
RESTAURANT EXHIBMONS Exhibits at Vista International Hotels'American Harvest Restaurants in NY and Washington. D.C.include: "Liberties with Liberty" posters; whirligigs and weathervanes and redware. At American Festival Cafe, curator William C. Ketchum,Jr. exhibits Native American basketry and pottery; chalkware, vvooden folk sculpture and scherenschnitte; and folk art from private collections. Winter 1989
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Mara Kurt,
1987 NEWS Museum awarded grant by National Endowment for the Arts to support research and documentation of the Museum's permanent collection. Stacy C. Hollander, Assistant Curator of Collections, is coordinating the project. Museum Shop presents special two-day demonstration and Mother's Day sale by silhouette artist Deborah O'Connor. Nearly 250 profiles are cut.
REPRODUCTIONS/HOME FURNISHINGS PROGRAM Museum's home furnishings program, "America Collection" introduces new licensee, Valdese Weavers, Valdese, NC, for America and America West Woven Fabrics. Three room settings designed by Stan Hura for Lane Co. feature Museum's collections at October High Point Market. PUBLICATIONS The Clarion reinstates quarterly publishing schedule. Editor Didi Barrett introduces two new sections; Letters to the Editor" and "Miniatures" in Winter issue of The Clarion. Miniatures presents folk art news items from all over the country.
Silhouettes get snipped at Museum Book and Gift Shop
Museum establishes Folk Art Collector's Library. Membership benefit offers discounts on selected folk art books and related items. PEOPLE Florence Brody, George H. Meyer and Ronald K. Shelp join Board of Trustees. Death of Trustee Emeritus Mary Allis. Robert Bishop calls her a "tastemaker" in folk art field.
Museum creates film and video catalogue. Ben Apfelbaum, intern in Museum's Folk Art Studies at NYU catalogues 175 films and 66 video tapes on folk art and artists. Compilation shared with Program for Art on Film, a joint venture of the Metropolitan Museum of Art and The J. Paul Getty Trust. The Clarion receives Award of Merit from American Association of Museums.
Buffet at F.A.O. Schwarz follows Benefit Auction
SPECIAL EVENTS Museum holds "Gala Benefit Auction 1987: at Christie's on May 27th. Evening's events feature both "Live" and "Silent" auctions. Festive buffet follows at F.A.O. Schwarz. One of the most successful fund raising events, over $350,000 raised. Proceeds used to match National Endowment for the Arts "Advancement Grant: "Folk Art Explorers Club" launched by Membership Director Beth Bergin. Expeditions offered free or at reduced rate to Sustaining Members. First year brought tours of private collections and public sites in CT, NJ, Philadelphia, and a private Manhattan House Tour. Folk Art Explorers Bonnie and Sy Grossman, Leo Rabkin and Director Robert Bishop embark on first expedition
EDUCATION Cheryl Hoenemeyer named Controller; Beth Bergin named Membership Director; Cathy Rasmussen named Director of Great American Quilt Festival 2; Karla Friedlich named Coordinator of Great American Quilt Festival 2; Phyllis A. Tepper named Registrar Folk Art Institute. PERMANENT COLLECTION Robert Bishop donates his personal information files to Museum's library. Three categories: subject; people; furniture. Reorganization of files undertaken by Rita G. Keckeissen and Eugene P. Sheehy, both former Columbia University reference librarians who volunteer their services to the Museum. Trustee Cyril I. Nelson donates 13 19th century coverlets and two 20th century quilts as first half of major gift.
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"Access to Aar a comprehensive program dedicated to making art accessible to blind and visually impaired persons is launched by the Museum and the American Foundation for the Blind. Access to Art速 is directed by Irma Shore, who began the program as a Folk Art Institute student project. The Xerox Corporation and The Mary Duke Biddle Foundation support program as a permanent activity of Museum's Education Department. Advisory Board is formed. Folk Art Institute's Fall semester signals the revival of craft courses, once routinely offered. First crafts course offered, "How to Paint and Grain Furniture; taught by Rubens Teles meets overwhelming response. Wait list only!
Sotheby's and Friends Committee host reception and private viewing of Americana Sale "The Collection of M. Austin and Jill R. Fine: Ralph Esmerian pays tribute to Fine, a former Museum Trustee and President of the American Folk Art Society. Great American Quilt Festival 2, "Memories of Childhood; crib quilt contest officially begins September 1, 1987. Contest is open to quilters around the world. Prize winning quilts from each state and country will be exhibited for first time in NYC at Great American Quilt Festival 2 [4/26-4/30/89] at NYC Exhibition Pier. Contest sponsored by Fairfield Processing Corporation/Poly-fil速, Springmaid速, and Coats & Clark, Inc./Dual Duty Plus速 Quilting Thread. Ninth Fall Antiques Show at the Pier [10/21-10/25/87]. Theme: "Silhouettes: Exhibition: "SILHOUETTES IN AMERICA, 1790-18407 Sponsors: Reliance Group Holdings, Inc. and Kathryn and Robert Steinberg. Curator: Blume J. Rifken. Text, Silhouettes in America, 1790-1840: A Collector's Guide, by Blume J. Rifken, published by Paradigm Press, Burlington, VT, 1987. Fall Clarion features "The Art of the Silhouettist; by Blume J. Rifken. Exhibit presents three major American silhouette types: hollowcut; cut and pasted; and fully painted. Preview benefits Museum. Preview Benefit Co-chairpersons, Cynthia V.A. Schaffner and Karen S. Schuster. Show manager, Sanford L. Smith and Associates.
The Clarion
SATELLITE/TRAVELING EXHIBITIONS "MASTERPIECES OFAMERICAN FOLK ART"at Hirschl and Adler Folk,NYC[4/10-5/9/87]. Sponsor: Hirschl and Adler Folk. Curator:Elizabeth V Warren. Checklist accompanies inaugural exhibition at Hirsch]andAdler Folk ofapproximately 25 outstanding paintings, textiles, sculpture, pottery and furniture.
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"THE SHAKERS:PHOTOGRAPHS BYANN CHWATSKY/OBJECTS FROM SABBATHDAY LAKE"at the Nassau County Museum ofFine Art, Roslyn Harbor, NY[4/20-5/24/87]. Curator: Gerard C. Wertkin. Text,Four Seasons ofShaker Life, by Gerard C. Wertkin,photographs byAnn Chwatsky,published by Simon and Schuster,Inc., NY,1986.First opportunity, outside of Maine, to see a comprehensive range of objects drawn from the rich collections of the Sabbathday Lake Shaker Society, New Gloucester, ME. Show travels. "TOBACCO ROADS/THEPOPULAR ART OFANAMERICAN PASTIME"at The City Gallery of NewYork,Department of Cultural Affairs, NYC[6/4-7/26/87]. Sponsors: Kane-Greenberg families. Curator: Ben Apfelbaum. Checklist accompanies exhibition ofobjects highlighting two art traditions which evolved around tobacco: Works made by hand for personal use — tobacco cutters — and items made to advertise and market the product — cigarstore figures and cigar boxes. Ann Ch atsky
"LIFE IN THE NEW WORLD:SELECTIONS FROM THE PERMANENT COLLECTION OF MUSEUM OF AMERICAN FOLK ART" at Sotheby's, NYC[7/1-8/31/87]. Sponsors: Sotheby's and the National Endowment for the Arts. Curator: Herbert Waide Hemphill,Jr. Checklist accompanies exhibition featuring three centuries ofAmerican folk art from Museum's permanent collection, highlighting recent accessions and norks rarely seen. "HOMAGE TO THE QUILT" at American Craft Museum, NYC [10/28/87-1/10/88]. Sponsors: Opportunities for the Arts, Columbus, OH and George and Frances Armour Foundation. Curator: Penny McMorris. Exhibition coordinated by Museum and American Craft Museum features 35 selections from "Quilt National 1987," competition and 15 examples from the Museums permanent collection. American Craft Museum and the Museum present the New York premier of Pat Ferrero's film, "Hearts and Hands: the influence of women and quilts on American society, at the E.F. Hutton Building, NYC. Champagne reception and dinner at American Craft Museum to follow with special tour of the exhibit. "LOAN EXHIBIT" at Place Des Antiquaires, NYC[11/19/87-1/31/88]. Museum creates a 19th century room setting with 25 pieces from its permanent collection at Gala Premier of Place Des Arttiquaires. 'AMERICAN FOLK ART: EXPRESSIONS OF A NEW SPIRIT" continues in Canada at the Art Gallery of Nova Scotia, Halifax, Nova Scotia [3/12-4/26/87], Nickle Arts Museum,Calgary,Alberta [5/29-8/2/87], Maison Chevalier, Quebec City, Quebec [9/1-11/30/87].
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'AN ART OF DECEPTION:AMERICAN WILDFOWL DECOYS:'at Brandywine River Museum, Chadds Ford,PA [5/21-8/1/87]. "LIBERTIES WITH IIBERTY" Craft and Folk Art Museum,Los Angeles, CA [6/10-8/16/87]. "THE GREAT AMERICAN QUILT FESTIVAL PRIZE WINNERS SHOW"at Paradise Valley Mall,Phoenix,AZ[2/1-2/28/87], Sacramento Community Convention Center, Sacramento, CA 13/27-3/29/871 American Museum of Quilts and Textiles, San Jose, CA [4/64/30/87], Tulip Time Festival, Holland, MI[5/11-5/20/87], Takashimaya Department Stores, Tokyo [6/11-6/16/87], Yokohama [6/18-6/23/87], Osaka [8/6-8/11/87], Kyoto [8/27-9/1/87], Salem Mall, Dayton, OH[9/16-10/11/87], The Mall in St. Matthews, Louisville, KY[10/15-11/11/87], Henry Morrison Flagler Museum, Palm Beach, FL [11/25/87-1/20/88]. 1986 Donald Waller Without a home gallery, Museum presents exhibitions around the country: From top,"The Shakers:' "Tobacco Roads:' "Life in the New World:' and "The Art of Scherenschnitte"
"MADE IN USX at Takashimaya Department Stores in Tokyo [6/11-6/16/87], Yokohama 16/18-6/23/871 Osaka [8/6-8/11/87], Kyoto [8/27-9/1/87]. "YOUNG AMERICA/A FOLK ART HISTORY" at Henry Ford Museum/ Greenfield Village, Dearborn, MI[4/6-9/13/87], The Mint Museum of Art, Charlotte, NC[10/5/87-1/3/88].
Museum's Pieties Quilt from "Homage to the Quilt"
'ART OF SCHERENSCHNITTE/SCISSOR CUTTINGS BY HELENE VON STREKER NYCE FROM COLLECTION OF MUSEUM OF AMERICAN FOLK ART" at Wichita Falls Museum and Art Center, Wichita Falls, TX [12/6/87-1/31/88]; Museum's satellite exhibitions continue to highlight Museum's role in bringing folk art to the public. "CATCH A BRASS RING: CAROUSEL ART FROM THE CHARLOTTE DINGER COLLECTION"at The Portsmouth Museum, Portsmouth, VA [12/5/87-1/30/88].
RESTAURANT EXHIBITIONS At the American Festival Cafe, William C.Ketchum,Jr. installs objectsfrom Museum'sAnimal Carnival Collection and annual Christmas show.
Winter 1989
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Michael Francese
PUBLICATIONS
88
Editor Didi Barrett introduces "Editor's Column" and "Developments" page in Fall issue of The Clarion. The latter, written by Development Director Johleen Nester, updates readers on fundraising activities at the Museum.
NEWS Phase I of Museum's building program a reality! On February 17, 1988 New York City Planning Commission votes unanimously to enable Museum to build new branch exhibition facility at Two Lincoln Square on Columbus Avenue between 65th and 66th Street. Scheduled to open in Apri11989 it will be open free of charge, seven days a week, 12 hours a day . The new gallery is named the Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square. Museum establishes $1.5 million endowment to ensure operation of the branch. Last tenant finally vacates premises on West 53rd St. Demolition pending and planning underway for the construction of a multi use 22 story building, to include museum facilities of approximately 51,000 square feet. New York State Council on the Arts supports Museum's general operations, exhibitions, and Access to Art速 with 56% increase over 1987! Museum in cooperation with Maryland Bank, NA, offers a Visa credit card imprinted with a graphic red and white Feathered Star Quilt design based on quilt from Museum's collection. With each approved application, card renewal, and purchase, a contribution is made to the Museum by the Bank.
At dinner acknowledging first donors to the Lincoln Square campaign, Trustees Mrs. Dixon Wecter, Frances Martinson and William Schneck, Honorary Trustee Eva Feld and Paul Martinson
PEOPLE William Schneck and Elizabeth (Mrs. Dixon) Wecter join Board of Trustees. Eva Feld named Honorary Trustee. Death of Esther Schwartz, former Trustee. Museum saddened by death in December of Joyce Hill, former Curator of Museum's permanent collection, Consulting Research Curator, Folk Art Institute Instructor and friend to many. Claire Hartman Schadler former Museum Registrar and Exhibition Director named Director of Eva and Morris Feld Gallery; Mary Linda Zonana named Coordinator, Docent Program; Alice J. Hoffman named Director of Art Services. Folk Art Institute celebrates first two graduates, Willa S. Rosenberg and Lee Kogan. Rosenberg becomes Assistant Editor of The Clarion and Kogan named first Shaskan Fellow. Fellowship funded by Evelyn W. Frank in honor of Myra and George F. Shaskan, Jr., longtime supporters of the Museum. Kogan will research 20th century folk artists. Museum establishes International Advisory Council and revitalizes Development Advisory Committee. Inaugural meeting held in NYC in November, is chaired by Development Director Johleen Nester. Trustee Elizabeth Wecter hosts inaugural meeting of Junior Committee at the Cosmopolitan Club. 20 members.
Alice Hoffman, Barbara Cate and Edith Wise at Library Book Sale
Museum's Library Book Sale organized by Alice J. Hoffman offers students opportunity to enrich their libraries. Proceeds earmarked for library equipment. Library under Edith Wise's remarkable guidance now contains over 8,000 volumes. Museum Book and Gift Shop opens Adirondack Branch in Warrensburg, NY, near Saratoga Springs. First satellite shop made possible by developer David Eastwood. Shop Manager, Bonnie Hutchinson. Adirondack Branch features Museum's traveling exhibit of 20 framed posters, "Liberties with Liberty." Museum opens Lincoln Square Book and Gift Shop, adjacent to future gallery in time for 1988 Christmas Season. Immediate success! Membership Director Beth Bergin develops Membership Survey which is sent to all members. Over 30% of members respond! Marketing consultant Jerry Ohlsten, advisor for project. Jan and Chuck Rosenak donate extensive archives and photographs of 20th century artists to Museum.
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Kitty Carlisle Hart, Chairperson of the New York State Council on the Arts agrees to become an Honorary Board Member of Access To ArtP PERMANENT COLLECTION Museum introduces three documented slide packets for sale depicting objects from Permanent Collection: Crib Quilts, Amish Quilts, and American Folk Art: Expressions of a New Spirit. 126 objects added to Museum's PermanentCollection which now numbers more than 2,500 objects. REPRODUCTIONS/HOME FURNISHINGS PROGRAM "America Collection" celebrates seventh year by adding 22 new pieces of furniture to the collection. Focus of new line is the French Provincial influence in America.
Museum prepares Bibliography of American Folk Artfor year 1987, intended to be annual publication. Compilation by Eugene P. Sheehy, former Columbia University reference librarian and editor of the American Library Association's Guide to Reference Books, and Rita G. Keckeissen, former Columbia University reference librarian, under direction of Museum Librarian Edith C. Wise. Library's collection forms basis of this unique bibliography which includes periodicals, catalogues and books. Bibliography to be published in early 1989. Museum receives Award of Merit from American Association of Museums for General Membership brochure. EDUCATION Museum revives Docent Program. Docent coordinators Mary Linda Zonana and Debbie Dunn interview dozens of applicants. Docents to conduct exhibition tours at the Eva and Morris Feld Gallery at Lincoln Square, and participate in outreach program. Folk Art Institute sponsors Spring seminar "Recent Research on Colonial Artists: with Mary Black, Consulting Curator and former Director of the Museum, at Jewish Guild for the Blind. Program supported in part by public funds from NYC Department of Cultural Affairs. In conjunction with seminar, Joyce Hill, Museum's Consulting Research Curator, conducts a field trip to Albany to view the work of the Hudson River Valley artists. Folk Art Institute co-sponsors lecture series "Masters of American Folk Painting: at National Society of Colonial Dames, NYC.
The Clarion
SATELLITE/TRAVELING EXHIBITIONS
SPECIAL EVENTS
'APRIL FOOL: FOLK ART FAKES AND FORGERIES" at Hirsch'and Adler Folk, NYC[4/1-4/30/88] Sponsors: Museum,Hirsdil and Adler Folk, and Maine Antique Digest. Curator: Samuel Pennington. Catalogue, April Fool: Folk Art Fakes and Forgeries, by Samuel Pennington, published by Maine Antique Digest, Waldoboro, ME,1988. First exhibit to examine issues of authenticity and the detection offakes in the field ofAmerican folk art.
Folk Art Explorers' Club trips include: Visit to contemporary folk artists and private collections in GA; Visit to private homes and Historical Society on Nantucket Island. Day trip to upstate NY with visit to Boscobel and to two private homes; Guided Halloween walking tour of lower Manhattan graveyards. Museum and New York Public Library/The Donnell Library Center present second Folk Art Film Festival at the Donnell Library Auditorium, NYC. Sponsors: Country Home Magazine, the New York Council for the Humanities and FilmNideo Arts, which is funded by the New York State Council for the Arts and the National Endowment for the Arts. Festival organized by Director of Exhibitiont Michael McManus. Admission is Free. Festival features a weekend of 26 films.
"CITY FOLK:ETHNIC TRADITIONS IN THE METROPOLITAN AREA"at PaineWebber Art Gallery, NYC[6/6-10/14/88]. Sponsor: PaineWebber Group,Inc. Curator: Gerard C. Wertkin. Checklist accompanies exhibition which explores urban ethnic heritages and the cultural traditions brought from around the world. "MALCAH ZELDIS: AMERICAN SELF TAUGHT ARTIST'at NYU's 80 Washington Square Gallery, NYC[7/21-9/9/88]. Curator: Henry Neimann. Checklist accompanies exhibition, Summer Clarion features "Malcah Zeldis/Her Life-Her Art'by Willa S. Rosenberg and Henry Neimann.
0 Helaine Messer
crii"CC:-/
Ralph Lauren saluted by Ralph Esmerian, President of Museum Board of Trustees
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Fake silhouette and doll from "April Fool"
10th Anniversary Fall Antiques Show at the Pier. 110/19-10/23/88]. Theme: "American Folk Art in the Pioneering Spirit:' Exhibition: "Folk Art of the Westward Movement" Exhibition designed by Ralph Lauren features Conestoga wagon. Preview benefits Museum. "Gala Benefit Dinner" honors Ralph Lauren for his commitment to folk art as a fundamental influence on American design and cultural history." Preview Benefit Co-chairpersons, Cynthia V.A. Schaffner and Karen S. Schuster. Chairperson of Gala Benefit Dinner, Karen D. Cohen. Honorary Chairperson, Mrs. Nancy Reagan. Honorary Co-chairpersons Woody Allen, Mia Farrow, Audrey Hepburn, Annette Reed, Steven and Courtney Ross, Marvin and Lee Traub and Bruce Weber. Show manager, Sandford L. Smith & Associates.
Artist Ralph Fasanella with Assistant Director Gerard C. Wertkin, curator of "City Folk"
Helaine Messer Gravestone photograph from "Portraits in Stone"
Helaine Messer
Artist Malcah Zeldis, right, with her daughter Yona McDonough and her mother Tania Brightman
"PORTRAITS IN STONE"at Federal Hall National Memorial, NYC[10/3-11/11/88]. Sponsor: Museum and National Parks Service. Curators: Daniel and Jessie Lie Farber. Exhibit features 92gravestone photographs by Harriett Merrifield Forbes given to the Museum by Daniel and Jessie Lie Farber. Director Robert Bishop with Myra Shaskan and Trustees Cynthia V.A. Schaffner,George F. Shaskan,Jr., Barbara Johnson and Karen S. Schuster at Fall Antiques Show
Ben & Jerry's Homemade Inc. sponsors "A Night at the Big Apple Circus:' 800 seats made available, at no cost, to school children in the five boroughs of NYC. All proceeds benefit the Museum's endowment fund for educational programming at the Museum's Eva and Morris Feld Gallery at Lincoln Square. Museum announces winners of Great American Quilt Festival 2 "Memories of Childhood" Crib Quilt Contest which attracted more than 1,200 entries worldwide.
'AMERICAN FOLK ART: EXPRESSIONS OF A NEW SPIRIT" at Conner Prairie, Noblesville, IN [4/30-6/5/88]. 'ART OF DECEPTION:AMERICAN WILDFOWL DECOYS"at New York State Museum,Albany, NY[1/30-4/17/88], Midland County Historical Society, Midland, MI[4/15-7/19/88], The Rice Museum, Georgetown, SC[8/7-10/1/88]. The Baltimore Museum ofArt, Baltimore, MD [11/1-12/31/88]. "THE GREAT AMERICAN QUILT FESTIVAL PRIZE WINNERS" Salt Lake City Art Center, Salt Lake City, UT [2/15-4/10/88], Mingei International Museum of World Folk Art, La Jolla, CA [5/9-7/6/88], Auburn Cord Duesenberg Museum,Auburn,IN [8/1-9/25/88], Hickory Museum ofArt, Hickory, NC[10/24-12/18/88]. "AMISH QUILTS" at Charles W.Bowers Memorial Museum, Santa Ana,CA [1/23-3/13/88],Fort Wayne Museum ofArt, Fort Wayne,IN [3/12-7/7/88].
RESTAURANT EXHIBITIONS Museum celebrates its fifth year of presenting folk art at American Festival Cafe. Curator: Wiliam C. Ketchum,Jr.
Winter 1989
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BOOK REVIEWS
STEREOSCOPIC PERSPECTIVE: REFLECTIONS ON AMERICAN FINE AND FOLK ART By Michael D. Hall Published by UMI Research Press, Ann Arbor, MI, 1988 262 pages, black and white illustrations $39.95 hardcover Michael Hall sometimes seems like the Jesse Jackson of the art world — not a little messianic and given to rhetoric which sometimes clouds the breadth of his concerns. I will never forget a panel on artist Martin Ramirez for the Moore College of Art during which Hall ended his statement with the ringing: "As an artist, I'm asking the court of critical revision to parole my brother, Martin, now." At the time, his statement seemed both a self-aggrandizing assumption of the artist's mantel and an unfair indictment of historians and critics for lack of interpretive approaches to Ramirez's work. Rereading his statement, as it appears in Stereoscopic Perspective: Reflections on Fine and Folk Art, I see how it reflects his unique viewpoint and Hall's theatricality is an attempt to make us listen. This volume, composed of essays either presented by Hall as lectures and papers or published in various exhibition catalogues or magazines between 1976 and the present, reflects not just the simultaneous view of fine and folk art of the title, but Hall's virtually unique position as practicing artist, collector of nineteenth and twentieth century folk art, and articulate critic of both fields. It is these three perspectives which combine to provide the richness of Stereoscopic Perspective. In fact, following an opening essay in which Hall uses the mathematical model of the mobius band to depict his sense of the interconnectedness of fine and folk art within the broader continuum of culture, the book is organized into three sections which reflect these three viewpoints. The first on contemporary art focuses primarily on American sculpture from the mid-fifties to the mid-seventies. The second explores the distinctive vantage point and contributions ofcollectors, particularly of American folk art, and their influence on attitudes within that field. The final section, and the most important contribution, is Hall's assessment of various aspects of folk art and his call for — and use 64
of — a methodology that combines the perspectives of artist, collector and critic. While the first section of essays on contemporary American sculpture contains some unique insights into the tradition of constructivism in America from David Smith to Mark di Suvero and its relationship to artists as diverse as Peter Voulkos, Robert Smithson, Richard Serra and Alice Aycock, it breaks no new critical ground. In fact, this litany of the sculptors whose work is big, bold and beyond spatial boundaries is dangerously close to the tradition Hall characterizes as "modernism, machoism, Midwesternism" in another essay. The value of these essays on contemporary sculpture is that Hall gives us both the selective vision of the practicing artist and the more distanced viewpoint of the critic simultaneously. Similarly in Part Two, Hall both acknowledges the tremendous contribution of collectors, from the early artist/collectors of folk art (Nadelman,Laurent and others ofthe Ogunquit Colony) to the historian/collectors (Lipman,Black,etc.)to the critic/collectors (mentor Herbert W. Hemphill, Jr., Hall himself) and the limitations of their various perspectives. He lays the purely formal approach, predicated on the simplified, "pure" forms of Modernism, at the feet of early artist/collectors seeking to find an American precedent for their own European-influenced interest in Modernism. He decries the cloak of patriotism and romanticization inherent in much ofthe writings of the historian/collectors from the forties through the present; and he particularly laments their historicist restriction that "true" folk art is limited to the pre-twentieth century period. He even questions the premise developed in the sixties and seventies by Hemphill and others that the power of creativity and expressivity is the ultimate criteria for a work's value and meaning. Again, Hall both understands the unique commitment of collectors and the dangers of their sometimes too narrow perspectives. It is, however, in the final section of the book, in his assessment of various artists and types of folk art that Hall achieves a synthesis of these points of view. In this group of essays he stops reproaching the lack of understanding of these materials by others and begins to lay his own ground rules for a fuller assessment. In his essay on Kentucky carver, Edgar Tolson, Hall locates
the essence of Tolson's art in his creative process. Quoting a taped conversation with the artist: "You don't make it with your hands. You form it with your hands. You make it with your mind:'Having established this awareness, Hall goes on to reveal Tolson's self-criticality: "I always know what is wrong. I can tell when I finish a piece what I like about it. Then I try to correct it on the next one:' Hall's tapes also reveal Tolson's awareness of politics, religion and broader cultural issues. Tolson becomes the exemplar of the message that runs through Hall's folk art essays: Folk artists, even so-called "outsiders!'are aware of the broad range of cultural issues and are self-aware as artists. Hall admits that folk artists such as Tolson have "limitations" of training and culture, but he believes that by overcoming these limitations to create powerful and universal meanings they become on par with other important artists. Having established equality between the best folk art and other artistic endeavors, Hall argues that, like any other art, folk art can be most fully understood by examining its cultural context. Hall's Tolson tapes reflect the methods of the material culturalist, as do his forays into how hunters see decoys as both useful and evocative objects and how the emergence of face jugs and "devil" jugs can be traced to symbols propagated by the temperance movement. In these essays, Hall does what he calls for from other critics and historians; he places the artists in a self-conscious, dialectical role within culture. In the final (and most recent) essay in the volume, Hall employs Duchamp's Large Glass as a wonderful metaphor for the constant desire to know art (the Bride) and the equally constant inability for criticism or history (the Bachelors) to know her completely. Hall again calls for a cultural context to be brought to the study of art: "If we accept the idea that art (among other things) is a reciprocating condition in which cultural perceptions will shape the images of art, then, art's images, in return, will affect a culture's perceptions and give structure to its beliefs. The nature of art in culture — including folk art — is dialectical!' But he also acknowledges, "Lest my text suggest that all that confronts us can be grasped through some perfected process of analysis, I must assert now that I expect the quest for art to entail a measure of belief' The Clarion
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BOOK REVIEWS
Stereoscopic Perspective: Reflections on American Fine and Folk Art, with its viewpoints of artist, collector and critic, its wide ranging knowledge of both fine and folk art, and its message that both can be better understood as creative expressions within a cultural context, is one of the most important critical appraisals of approaches to American art in recent years. Behind the occasional rhetoric, Hall's book is frequently witty (his claim to "redress" the limitations of criticism in "The Bridesmaid Bride Stripped Bare") and sometimes profound (his metaphor of the Large Glass for thwarted critical understanding). Hall's collection of essays is a must for anyone interested in folk art, and art as a whole, within contemporary culture. —Russell Bowman Russell Bowman is Director of the Milwaukee Art Museum. His most recent writings on folk art are essays in the Chicago Public Library Cultural Center's Urgent Messages (1987) and Moore College of Art's The Heart ofCreation: The Art of Martin Ramirez(1985).
FOLK ART'S MANY FACES: PORTRAITS IN THE NEW YORK STATE HISTORICAL ASSOCIATION By Paul S. D'Ambrosio and Charlotte Emans with Dr. Louis and Agnes Halsey Jones, Amy McKune, Richard Miller and Jaquelyn Oak Published by the New York State Historical Association, Cooperstown, NY, 1987 225 pages, color and black and white illustrations $29.95 softcover This project is the first catalogue of the Association's notable collection of American folk art, presumably to be followed by catalogues dealing with the remaining segments of the collection. This catalogue is studded with favorite portraits by John Brewster, Jr., J. Brown, William Matthew Prior and Ashahel Powers, as well as watercolor portraits by Joseph H. Davis and Ruth Henshaw Bascom. This project was inspired by the high standards set in the 1981 catalogue, American Folk Portraits: Paintings and Drawingsfrom the Abby Aldrich Rockefeller Folk Art Center, published by Colonial Williamsburg, which signalled a 66
Charles Mortimer French; Asahel Powers; Circa 1832; one of 77 portraits in the New York State Historical Association's Folk Art's Many Faces.
new professionalism and seriousness about the study of American folk art. The obvious similarity in the make-up of the two famous collections (many of the same artists are represented in both publications) and NYSHA's careful adherence to the format in the AARFAC catalogue makes it impossible not to compare the two. While the NYSHA catalogue provides a similar level of comprehensiveness in factual information, it fails in some ways to meet the high level of quality, both in content and design, achieved in the AARFAC catalogue. The NYSHA collection boasts a fascinating history. The key players in its formation during the 1940s and 50s include such notables as Dr. Louis C. Jones, the first Director of the Association and his wife Agnes Halsey Jones, Stephen C. Clark, Jr., a founder of the Museum of Modern Art and the chairman of the board at NYSHA, and Mary Allis, one of the most astute dealers of the period. This team brought together
portions of the folk art collections of the sculptor Elie Nadelman in 1948, Jean and Howard Lipman in 1949 and the enigmatic couple from Newtonville, Massachusetts, Marion and Raymond Gunn in 1958. The two essays that form an introduction to the catalogue correctly focus on the formation of this collection. The Jones' essay provides an overview of the folk art collection with first hand accounts of its formation. While an intriguing story in and of itself, one is left wanting to know about the context in which this collection was acquired, and how it compares to other major folk art collections that were in formative stages at the same time. The second essay by Amy McKune, a graduate of the Cooperstown program, provides information on the collection of Mr. and Mrs. William J. Gunn, whose 154 folk portraits make up a large segment of the works in the catalogue. The Gunn collection arrived at NYSHA as a gift from Stephen Clark in 1958. Mary Allis had purchased the entire collection of folk paintings numbering 630 from the estate in the same year. Allis and Clark selected the works for NYSHA's collection and Mary Allis sold the bulk of the collection. While this essay adds solid new information to the meager facts previously available on the Gunns, it provides no explanation for their collecting interests and leaves the reader wondering what the bulk of their collection consisted of and where it is located today. Neither essay provides the reader with an introduction to the topic in question, folk portraiture. This seems an oversight in light of the fact that the average reader will approach this relatively new area of scholarship with little foreknowledge. It would also seem necessary to address the topic as a rationale for having separated "folk portraits" from the numerous academic portraits in NYSHA's collection and to explain the criteria used to divide the two segments of the collection. The information contained in the entries is organized in a convenient and straightforward fashion. A reader's guide explaining the book's plan is included in the front of the volume. The scholarly data for each object has been conscientiously compiled including medium, support, dimensions, inscriptions and so on, along with histories of ownership, and publication and exhibition The Clarion
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BOOK REVIEWS
records. Titles assigned to the paintings are at times troubling in that they have a twentieth century ring to them, and yet no indication of the actual origin of the title is provided. For example, the following titles convey a particular meaning beyond the standard Portrait ofa Man or Portrait ofTwo Children: John Brewster, Jr., One Shoe Off; unidentified, Enigmatic Foursome; Joseph H. Davis, Separate Tables; unidentified, That's My Doll. One can sympathize with the dilemma of having to assign titles to numerous portraits of unidentified subjects, but if the title was assigned to a painting at the time it entered the collection, then the title's origin should be made clear. A welcome added feature in the entries are detailed discussions of the condition of each work. Many of the paintings were examined and in some cases treated by Caroline and Sheldon Keck, thus, a careful record of the condition of these paintings was available for inclusion. The catalogue entries on the whole are well informed including objective but at times somewhat superficial descriptions of the works. One finds cautious discussions that cite rather than interpret factual information about the pictures. In some instances, ideas suggested in the first catalogue on the Gunn collection written by Louis and Aggie Jones in 1960, New Found Folk Art of the Young Republic, are reiterated but not pursued further. Biographies and the essential bibliographies for the forty-one artists included are concise and up-to-date. The catalogue proposes few new attributions. One notable exception, the pastels New England Man and New England Woman, are attributed to Winthrop Chandler. While a sound attribution, with obvious comparisons to be made with other works by Chandler, the entry fails to present a solid case for the attribution. In the section on unidentified artists, an effort is made to cite known works by the same hand. For example, the portrait John Whatrfis grouped with three other related examples, with a compilation of all presently known facts concerning this unidentified hand. The use of X—rays, autoradiographs and other scientific tools reveal new information on several of the paintings. For example, the unidentified Presenting Baby was traditionally thought to have been a fragment of a larger 68
work, however, X-radiographs reveal that the painting was not cut down in width. The volume is generously illustrated, with some of the most important works given full-page color reproductions. The illustrations are printed next to the entries that discuss them and are,for the most part, of good quality. The design elements in the catalogue, however, are at times overly decorative and detract from the seriousness of the publication. For example, a stencil motif is used on the cover and elsewhere, reinforcing an unwanted stigma concerning "folk art:' In addition, each illustration is outlined in a black line simulating a frame, again an unnecessary detail. Despite the occassional lack of crisp, clean design and the overiding conservatism of the entries, the volume provides a standard reference for one of the country's great folk art collections. The amassing and verifying of information for a collection of this importance is an enromous task for which the Association and the authors should be congratulated. The book will undoubtedly stimulate many more such studies thus adding to our knowledge of American folk painting. —Dr.Elizabeth Mankin Kornhauser Dr. Elizabeth Mankin Komhauser is Curator of American Paintings, Sculpture and Drawings at the Wadsworth Atheneum, Hartford, CT.
THE GRAND GENERATION: MEMORY,MASTERY,LEGACY Mary Hufford; Marjorie Hunt; Steve Zeitlin Published by the Smithsonian Institution Traveling Exhibition Service and Office of Folklife Programs, Washington DC,in association with University of Washington Press, Seattle and London, 1987 128 pages, color and black & white illustrations $25.00 hardcover; $14.95 softcover The Grand Generation serves as a catalogue to the traveling exhibition ofthe same name. As such it is an interesting document, written with warmth and love for this particular selective subject matter. "The Grand Generation" is the grand name given to persons born between 1900 and 1925, mak-
ing them, currently, 63 to 88 years old. Out ofthe very large number of persons who fall into this category(it would have been nice to have a statistic), the authors chose singular examples of those who have become transmitters of the stories, traditions and arts of their families, communities and religions. The book is very personal, almost familial. The list of acknowledgements is almost three pages long; the book is dedicated to the grandparents of the authors. Nobody is left out. Barbara Kirshenblatt-Gimblett's introduction is very well written, and it is appropriate that she write it, since the authors acknowledge their debt to Kirshenblatt-Gimblett and to the late Barbara Myerhoff, claiming that they "inspired our research at every turn:' I agree with Kirshenblatt-Gimblett that the artifacts chosen for this exhibition (which serve as the many illustrations in the book) often "fail to meet the criteria traditionally associated with folk art:' I disagree with her statement that the reason they fail is that the artifacts are too personal. If folk art is anything, it is personal. It is not just through artifacts that the elderly express themselves, but also through story-telling, life-cycle celebrations, food, sharing traditional games, dancing and making music. Their motivation is not only to share their experiences with the young. The book emphasizes that people born at the same time,those"who entered the stream of history together," need each other in a unique way. The book is divided into three main areas: "Memory," as in the life-review embroideries of Mississippi octogenerian Ethel Mohamed; "Mastery:' as in pottery of Pueblo Indian, Margaret Tafoya, whose long life of practice has given character to her pots; and "Legacy," as in the embroidery traditions brought from Laos to Michigan by the Hmongs. It is a lovely, optimistic story, but highly selective. It tends toward ethnic, religious and provincial expressions. It leaves out the very large number of63 to 88 year-olds who are urbane, highly educated and more intune with the present than the past. As a catalogue to an exhibition, I think The Grand Generation is delightful. But if I were tojudge it alone as a book, I would say it needs greater historical, statistical and ethnological perspective. Perhaps the auThe Clarion
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BOOK REVIEWS
thors have it in their minds to expand this material into a more comprehensive study. —Barbara W. Cate Barbara W. Cate is Associate Professor of Art History at Seton Hall University and Director of the Folk Art Institute ofthe Museum of American Folk Art.
VILLAGES OF HISPANIC NEW MEXICO Text and photographs by Nancy Hunter Warren Published by University of Washington Press, Seattle, Washington, 1987 124 pages,92 black and white illustrations $30.00 hardcover; $14.95 softcover Photographer and anthropoligist Nancy Hunter Warren began making weekly explorations of Northern New Mexican villages some fifteen years ago. Following long stretches of back roads and the crosses symbolizing churches on a highway department map, she gradually discovered and became quite familiar with a number of small Hispanic towns and communities. The recently published Villages ofHispanic New Mexico is Warren's story of those communities. In the context of anthropological research, this book provides a valuable historical portrait of a culturally unique and rapidly disappearing rural New Mexico. The 111-page book, published by the School of American Research in Santa Fe, includes a straightforward text and more than sixty of the authors own impressive black and white photographs. Throughout, Warren emphasizes the continuing effects of Anglo-America's commercial economy as it encroaches upon a radically different, selfcontained, agrarian way of life. She highlights a strong determination amongst community members to retain their cultural identity in the face of their diminishing isolation and increasing exposure to foreign systems of evolution. The work as a whole reflects a careful and competent assembling of facts and demonstrates the author's abiding respect for the lifestyles of those researched. It is unfortunate, however, that this respect never quite fully blossoms beyond a somewhat rote set of anthropological perimeters to encompass 70
a more intimate, and thus revealing, sense of individual personalities and life stories. At its best, this book is a useful resource for those in search of a simplified, descriptive historical overview of a disappearing way of life. Those who might look forward to experiencing the creative minds and spirits of specific individuals as they struggle to sustain these villages, may be disappointed. The first chapter offers a fascinating introduction into the tumultuous history of these small Hispanic communities. Warren traces their history back to the early 1600's, when both Spanish and Mexican colonists first began establishing settlements in the area of land now known as New Mexico. Having survived for nearly 400 years these communities have persisted amidst extreme isolation, discrimination, limited educational opportunities and exclusionary policies under revolving governmental systems of Spain, Mexico and the United States. Over the years, it has been the limited contact with an outside world that has allowed traditional ways to survive and evolve as a unique blending of cultures. Chapters two through eight proceed to trace the specific legacies of this history as evidenced through, respectively: The people, church, village, landscape, Penitentes, ways of making a living, and feast days. Of particular note is chapter six, entitled "Los Hermanos:' This section looks at the Brotherhood of Hispanic village men called the Penitente Brothers that formed in the early decades of the nineteenth century to maintain religious values and customs threatened with extinction by the scarcity of religious leaders at that time. This, along with chapter eight, is of particular interest, perhaps due to a focus on expressions of passion and spirituality. Warren explains the groups meeting places, activities, traditions and changing place within the community. Although the book is fairly thorough in its scope, a good dose of local insights and perspectives could have done wonders towards breathing fresh life into this strongly descriptive narrative. Because there is absolutely no direct input from the people that Warren describes, a built-in distance is sustained between reader and subject matter. In fact, the isolated quotations that do appear in the book come only from an early traveler to New Mexico,a newcomer having arrived with the United States occupation in
1846,and as the opening to the introduction, a quotation from the King of Spain in 1706 as he commemorated the first days of Spanish colonial rule! As a preface to these issues, the reviewer claims no expertise concerning the current state ofresearch and contemporary issues of criticism in the field of anthropology. However, it seems rather odd that any contemporary author/anthropologist, in setting out to provide a responsible overview of an existing group or culture, would not consider themselves obliged to also seek direct input from representatives of that group. In doing so, they would surely(and finally!) help lay to rest such past travesties as colonial elitism!' Villages of Hispanic New Mexico has a quiet, almost meditative sense about it. As a freeze frame in the wavering evolution of a rich human microcosm, it carries a deep and simple beauty. Yet some ofthe villages such as Manga that Warren photographed only ten years ago have already become virtual ghost towns. A subtle sense ofimmediacy is implied, like sand flowing through an hourglass. Warren's images do linger. Yet ultimately, they linger in silence; without voices, without names. —Lynne Spriggs Lynne Spriggs works at Cavin-Morris Gallery and is a graduate student in African and Native Indian Art of the Americas at Columbia University.
THE QUILT DIGEST Volume 5 Published by The Quilt Digest Press, San Francisco, CA, 1987 79 pages, color and black and white illustrations $16.95 softcover This fifth volume of a series of quilt anthologies begun in 1983 is composed of written and photographic essays, appealing both for their range of topics and the depth in which these diverse topics are covered. The essays discuss quilts and quilters from places as disparate as the United States, West Germany, New Zealand, Australia, Switzerland and England. For example, "Quilts and Their Makers in 19th Century Australia' is a well-researched The Clarion
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E. MAIN ST., Second Floor SCOTTSDALE, AZ 85251 (602) 946-2910
American Folk Art
Custom painted from photographs of your family and pets by artist Barbara Phillips. For information send $2 to: afrAigkn ., &armed 614.14 The Battered Brush (M) Rt. 4, Box 504, Crandall Rd. Quitman, MS 39355
Discover the largest collection of American Folk Art reproductions in the country Magnificent works of art from leading museums, galleries and private collections. Portraits, landscapes, still fifes, theorems, quilts and samplers. All meticulously reproduced in full color. Send $2.00 check or money order for our new color catalog illustrating over 100 Folk Art reproductions and we will include a free miniprint suitable for framing as our special gift.
HEDGEROW HOUSE PUBLISHERS
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-M
BOOK REVIEWS
of cigar ribbons, cigarette silks and cigar flannels, and the bedcovers made from them,as well as"Showcase:'a photographic essay of twenty quilts with an impressive range of styles, designs, and periods. The collection of essays in this volume gives the reader a good idea of the wide range of topics quilt scholars are currently investigating as well as the kind of work contemporary quilters are doing. Overall it is a happy addition to this series ofessays on quilts and quilters. —Judith Reiter Weissman
4. 7 4k . piece that traces the development of Australian quilts through the end of the nineteenth century. It begins with the story of female convicts shipped to New South Wales and equipped with the materials necessary to make patchwork quilts, including "nine balls of sewing cotton, twentyfour hanks of colored thread, one small bodkin, one thimble, one pair of scissors and two pounds of patchwork pieces:' "Pieces of the Heart;' focuses primarily on the lives of six contemporary quilters from different countries. It deals with the personal history of individuals with very different backgrounds and experiences, and illustrates the wide range of motivations found among women who quilt, whether for pleasure or to earn a living. Their stories are revealed briefly, but in telling detail which conveys a clear picture of the centrality of quiltmaking in their lives. For all of them, whether they earn their living by their work or not, quilts are a crucial means of selfexpression. Perhaps most striking here is the story of Adelheid Gubsek, a 27—year—old quilter from Basel, Switzerland, who alternates two months of work in a factory with two to three months offto make quilts. The factory work provides her enough money to live for a few months, so she can work full-time at making quilts. Among the other pieces is "When the Smoke Cleared:' an informative discussion 72
Judith Reiter Weissman is Associate Professor in the Department of Art and Art Education at New York University. She is co-author, with Wendy Lavitt, of Labors of Love: America's Textiles & Needlework,1650-1930(Alfred Knopf, 1987).
MICHIGAN QUILTS:150 YEARS OF A TEXTILE TRADITION Edited by Marsha MacDowell and Ruth D. Fitzgerald Published by Michigan State University Museum, East Lansing, Michigan, 1987 177 pages, black and white and color photographs $34.95 hardcover; $24.95 softcover Michigan Quilts, one of the latest entries in the unofficial series of state quilt project books, is especially deserving of notice. Developed by the staff of the Traditional Arts Program of the Michigan State University Museum, under the direction of Marsha MacDowell, the project evidences the scholarship of those involved. This publication and the accompanying exhibit are but one part of the Michigan Quilt Project; they represent the sharing of initial information gathered. In its attempt to record and document Michigan quilts, the project went beyond recognizing only the visual qualities of the quilts; it developed a comprehensive methodology to research other aspects of quiltmaking by collecting data relating to cultural and historical material leading to further avenues of research and inquiry for consideration. The book is divided into three parts; initially an essay by Marsha MacDowell sets the frame of reference for the project. Emphasis is placed on the importance of viewing quilts as documents of history, on
how the quiltmaking process was and is influenced by technology and communication, and on textile tradition and its tie to the role of women in society. Interestingly, no parameters were set in this project as in some of the other state projects. Any quilt with a"Michigan association" was accepted into the project. All factual material presented in MacDowell's essay is well documented with citations of original and secondary source material. The quilts themselves are the stars of the book and the format of the second section in which they are presented will satisfy all who love looking at and reading about quilts and quiltmalcers. Two hundred sixty-five quilts, all in color, are pictured and in most instances accompanied by black and white snapshots or portraits of the quiltmaker, many times with family members. The descriptive text varies somewhat since it is a collaborative effort of seven authors. However, this in no way diminishes the quality of the text. In all instances, preceding the colorful vignette of each quilt, is a uniformly organized set of specifics about the quilter's name,birth and death dates, pattern name and/or title, date of the quilt, provenance or location where made, lender's name, materials used, measurement in inches and quilt project catalogue number, making this book an excellent resource for the individual researcher. Since so many of the quilts are from private families, these details add greatly to the knowledge of quiltmaking in Michigan which can also be carried over into other geographical regions. The textual material in the third and final section of the book outlines the comprehensive methodology used, relates how the oral and written documentation was conducted and suggests future topics for research raised by the project. A wonderful byproduct in addition to archival and library research was the donation of quilts to the Museum's own collection. There is a delightful sense of sharing emanating from the pages ofthis book. Indices to help the reader and an excellent bibliography complete this most excellent of quilt project publications. —Phyllis Tepper Phyllis Tepper is Registrar of the Folk Art Institute of the Museum of American Folk Art and Director ofthe New York Quilt Project. She is also a quiltmaket The Clarion
A SUPERB COLLECTION OF WORKS BY WELL KNOWN CONTEMPORARY AMERICAN FOLK ARTISTS PRESENTED IN A FULL COLOR CATALOGUE
Sole of Hots
Aaron Birnbaum
Self-Portrait, 1988, oil on linen, 24" x 20"
Contemporary Folk Art P.O. Box 34891-TC, Los Angeles, CA 90034-9998 (213) 202-8528 Catalogue $2.00 (refundable with first purchase)
by appointment 115 West Broadway New York, New York 10013 212-285-0830
Robert Cargo
FOLK ART GALLERY Southern, Folk, and Afro-American Quilts Antiques• Folk Art
MAKERS OF COLONIAL AND EARLY AMERICAN LIGHTING FIXTURES
Et) Henry Speller, Woman, 18" x 24", mixed media on paper, ca. 1987.
Robert Cargo FOLK
17 The Mill Road, West Rupert, Vermont 05776 (802) 394-7713
ART GALLERY
2314 Sixth Street, downtown Tuscaloosa, Alabama 35401 Open weekends only and by appointment Saturday 10:00-5:00, Sunday 1:00-5:00 In New York area call 201/322-8732.
AUTHENTIC DESIGNS Catalogue $3.00
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73
The finest antiques on Long Island are sold by South Bay i**11.111011111111 ,
Our specialty is quality. Our sales appeal to those whose tastes encompass 17th through 19th century American furniture, paintings, textiles, folk art, pottery, baskets, country decorations and sporting collectibles. For a private consultation about selling, or a catalog of our upcoming auctions, please call Henry Broggi, auctioneer, or Isette Talpe, gallery manager,(516) 878-2909.
SOUTH BAY AUCTIONS BOX 303•EAST MORICHES•LONG ISLAND•NEW YORK 11940 HENRY BROGGI, AUCTIONEER * ISETTE TALPE, GALLERY MANAGER WE PURCHASE SINGLE ITEMS & ENTIRE ESTATES CONSIGNMENTS WELCOMED • APPRAISALS
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The Art ofAmerican Cooking in historic Ridgefield, Connecticut
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IMLLIAM RAVEIS REAL ESTATE 724 Danbury Road, Ridgefield, CT 06877
From the folk art that surrounds you, to the culinary art that's before you,the American Festival Cafe is an ever-changing celebration of the best of Americana.
"Crazy Quilt Bee"full color poster 18"x22"
$12 ppd Colorado residents add 3.6% tax
CALICO ROSE COLLECTIONSINc. C Box 370,Englewood,CO 80151 (303)789-0396 Jigsaw Puzzle also available$15 ppd
American Festival Cafe at Rockefeller Plaza An Ever-Changing Celebration of American Cooking. 20 West 50th Street. Reservations:(212)246-6699. 75
EPSTEIN/POWELL 22 Wooster St., New York, N.Y. 10013 By Appointment(212)226-7316
Jesse Aaron
Rifka Angel
Steve Ashby
William Dawson
Vestie Davis
Antonio Esteves
Mr. Eddy
David Butler
Charlie Dieter Howard Finster
Victor Joseph Gatto(Estate) S.L.Jones
Lawrence Lebduska Inez Nathaniel
Emma Lee Moss Nellie Mae Rowe
Jack Savitsky
Mose Tolliver
Luster Willis
Justin McCarthy Old Ironsides Pry Clarence Stringfield and others
January American Visionary:
GERALD HAWKES
GeorgeCiscleGallery "Angela! Mystery Queen" 1988, matchsticks and natural dyes.
76
1006 Morton Street Baltimore, MD 21201 Tel: 301 • 837 • 2787
DEVELOPMENTS JOHLEEN D.NESTER
LINCOLN SQUARE ENDOWMENT CAMPAIGN As the opening of the Museum of American Folk Art/Eva and Morris Feld Gallery in early-Spring 1989 draws near,lam pleased to reporta number of enthusiastic gifts and pledges from members toward the endowment campaign goal of $1.5 million. The first two gifts to the Sponsorship Program were announced in November. Long-time friends of the Museum,Leo and Dorothy Rabkin, made a generous gift of $20,000. Milton & Marilyn Brechner have generously pledged a Benefactor gift of $25,000. Both gifts, which will be acknowledged on a prominently displayed recognition plaque in the Garden Court, will serve as inspiration for future donors to the Sponsorship Program. The Amicus Foundation, a generous donor toward permanent collection acquisitions in the past, has given a gift of $10,000 which will be acknowledged on the first bench/planter in the Garden Court. The Foundation will become a Sponsor of the campaign. Three benches, located in various wings ofthe new branch, will recognize gifts from the following friends. Didi & David Barrett, Willa & Joseph Rosenberg, and Donald & Marian DeWitt have jointly donated a gift to name the North Wing window bench. Zelma & Austin Super have pledged a gift of $3,000 to name another bench. The members of the American Folk Art Society have contributed funds for a third. A number of donors have made gifts and pledges which will be recognized on chairs throughout the gallery: Susan and Joel Simon (2 chairs — $2,000); Cathy Rasmussen ($1,000); Terry and Simca Heled ($1,000); Isobel and Harvey Kahn ($1,000); Joan and Victor Johnson ($1,000); and Edwin and Barbara Braman ($1,000). The generosity and prompt response to the Museum's request for support Winter 1989
Ben & Jerry andfriends: From left, Allan Kaufman, Director ofSales and Marketing at Ben & Jerry's Homemade;Johleen Nester, Director ofDevelopment;Jerry Greenfield; Bob Bishop, Director; and Ben Cohen.
from each of these donors is warmly appreciated. Without the support of Museum members the new branch at Lincoln Square would not be a possibility. I urge each of you to consider becoming a part of this great next step in the Museum's future and would be happy to discuss the many ways you, as a member, can help. THE MUSEUM OF AMERICAN FOLK ART AND BEN & JERRY'S HOMEMADE As you know, the Museum's partnership with Ben & Jerry's Homemade began with a generous gift to endow the Garden Court at the Lincoln Square branch, the first corporate donation toward the total campaign goal of $1.5 million. On a recent visit to the company's headquarters in Waterbury, Vermont, Ben & Jerry's announced to Bob Bishop and me a second gift to the Museum: "A Night at the Big Apple Circus" will help to raise additional funds for the Lincoln Square endowment. As part of this gift, Ben & Jerry's has made 800 tickets for the performance of "A Night at the Big Apple Circus" available, free-of-charge, to children in all five boroughs of New York City. The Museum would like to thank Ben & Jerry's for its commitment to, and generous support of, the Museum of American Folk Art/Eva and Morris
Feld Gallery at Lincoln Square and for its role in bringing the circus to so many children in New York City. NEW YORK STATE COUNCIL ON THE ARTS In addition to support from individuals, corporations, and foundations, I am pleased to announce a significant increase in funding from the New York State Council on the Arts this year. Three grants, totalling $42,500, will support the following activities in 1988/89: $14,500 for general operating support;$20,000 for"Stitched from the Soul: Slave Textiles in the Ante-Bellum South;" and $8,500 for "Access to Art: Bringing Folk Art Closer;' a tactile exhibition of objects from the Museum's Education Collection designed specifically for blind and visually impaired visitors. These grants represent an increase in support of 56% over 1987/88! The Museum is extremely grateful for this generous expression of confidence and support from the Council, especially now as plans for the new gallery are finalized. The Museum of American Folk Art is delighted to share these exciting developments with its membership and looks forward to reporting additional gifts to the endowment campaign, as well as support for special programs and exhibitions, in future issues of The Clarion. 77
MUSEUM OF AMERICAN FOLK ART BOARD OF TRUSTEES
Executive Committee Ralph Esmerian President Frances Sirota Martinson Esq. Executive Vice President Lucy C. Danziger Vice President Karen S. Schuster Secretary George F. Shaskan, Jr. Treasurer Karen D. Cohen Judith A. Jedlicka Theodore L. Kesselman Susan Klein Kathryn Steinberg
Members Mabel H. Brandon Florence Brody Daniel Cowin Barbara Johnson, Esq. Margery G. Kahn Alice M. Kaplan William I. Leffler George H. Meyer Cyril I. Nelson Cynthia V.A. Schaffner William Schneck Ronald K. Shelp Bonnie Strauss
Maureen Taylor Mrs. Dixon Wecter Robert N. Wilson Honorary Trustee Eva Feld Trustee Emeritus Adele Earnest Cordelia Hamilton Herbert W. Hemphill, Jr. Louis C. Jones Jean Lipman
DEVELOPMENT ADVISORY COMMITTEE Judith A. Jedlicka Theodore L. Kesselman Co-chairmen Lewis Alpaugh Hoechst Celanese Corporation Gordon Bowman
John Mack Carter Good Housekeeping
Allan Kaufman Ben & Jerry's Homemade
Paul Chusid Squibb Corporation
Francine Lynch Chase Manhattan Bank, N.A.
Jerry Kaplan Thomas Troland Country Home
Rachel Newman Country Living Barbara Wright New York Telephone
Frank Brenner Hartmarx Corporation
INTERNATIONAL ADVISORY COUNCIL Frances S. Martinson, Esq. Mrs. Dixon Wecter Co-chairmen Paul Anbinder William Arnett Frank & June Barsalona Mary Black Susan Blumstein Judi Boisson Gray Boone Robert & Katherine Booth Barbara Braman Milton Brechner Raymond Brousseau Edward J. Brown Charles Burden Tracy Cate Margaret Cavaggia Edward Lee Cave Richard & Peggy Danziger Marian DeWitt Davida Deutsch Charlotte Dinger Raymond & Susan Egan Margo Ernst 78
Howard Fertig Ted & Joanne Foulk Jacqueline Fowler Ronald Gard Dr. Kurt A. Gitter Merle & Barbara Glick Howard M. Graff Bonnie Grossman Lewis I. Haber Michael & Julie Hall Elaine Heifetz Terry Heled Josef & Vera Jelinek Joan Johnson Eloise Julius Allen Katz James Keene Mark Kennedy Arthur & Sibyl Kern William Ketchum Susan Kraus Wendy Lavitt Robert & Betty Marcus Paul Martinson Michael & Marilyn Mennello
Steven Michaan Alan Moss Kathleen S. Nester Helen Neufeld Henry Niemann Paul Oppenheimer Dr. Burton W. Pearl Patricia Penn Leo & Dorothy Rabkin Harriet Polier Robbins Charles & Jan Rosenak Joseph J. Rosenberg Randy Siegel Sibyl Simon Susan Simon Ann Marie Slaughter Sanford L. Smith R. Scudder Smith Richard Solar Hume Steyer Jane Supino Edward Tishelman Tony & Anne Vanderwarker John Weeden G. Marc Whitehead The Clarion
CURRENT MAJOR DONORS
The Museum of American Folk Art thanks its current major donors for their generous support: $20,000 and above Amster, Rothstein & Ebenstein *Bear, Stearns & Co., Inc. Ben & Jerry's Homemade,Inc. Bidermann Industries Judi Boisson Marilyn & Milton Brechner Cosmair Inc. Country Living Mr. & Mrs. Frederick M. Danziger Dillard's Mrs. Eva Feld Estate of Morris Feld Genesco Inc. *Hartmarx Corporation The Hot Sox Co., Inc. *IBM Corporation Klear-Knit, Inc. Mr. & Mrs. Ralph Lauren Jean & Howard Lipman *R.H. Macy & Co., Inc. Mahoney Cohen & Co. Manifaro Inc. Joseph Martinson Memorial Fund The May Stores Foundation, Inc. National Endowment for the Arts New York State Council on the Arts Optique Du Monde Ltd. Oxford Industries, Inc. *PaineWebber Group Inc. *Philip Morris Companies Polo Ralph Lauren Corporation Leo & Dorothy Rabkin Seibu Corporation of America Herbert and Nell Singer Foundation, Inc. Skadden, Arps, Slate, Meagher & Flom J.P. Stevens & Co., Inc. *United Technologies Corporation Warnaco Inc. Warner Communications Mrs. Dixon Wecter Wells, Rich, Greene, Inc. Whisper Knits, Inc. *The Xerox Foundation $10,000-$19,999 Estate of Mary Allis American Express Company Amicus Foundation Coats & Clark, Inc. Mr. & Mrs. Peter Cohen Cowen & Company The Joyce & Daniel Cowin Foundation Inc. *Culbro Corporation Adele Earnest Fairfield Processing Corporation/Poly-filo Jessie Lie and Daniel Farber Walter and Josephine Ford Fund The Peter S. Kalikow Fund, Inc. Theodore L. Kesselman Kohlberg Kravis & Roberts Foundation Winter 1989
Naomi Leff & Associates, Inc. *Manufacturers Hanover Trust The Andrew W. Mellon Foundation Kathleen S. Nester Reliance Group Holdings Republic National Bank of New York *Restaurant Associates Industries, Inc. Revlon Group Inc. Derrald Ruttenberg *Schlumberger Foundation, Inc. David Schwartz Foundation, Inc. Mr. & Mrs. George F. Shaskan, Jr. Shearson Lehman Hutton Peter and Linda Solomon Foundation Springs Industries Mr. & Mrs. Robert Steinberg Barbara and Thomas W. Strauss Fund Wathne Ltd. Weiss Peck & Greer Wilke Farr & Gallagher $4,000-$9,999 *American Stock Exchange *Bankers Trust Company The Bemhill Fund *Bristol-Myers Fund Mrs. Martin Brody Tracy Roy & Barbara Wahl Cate *Chase Manhattan Bank, N.A. The Clokeys Inc. The Cowles Charitable Trust Mr. & Mrs. Edgar M.Cullman Mr. & Mrs. Richard Danziger Colonel Alexander W. Gentleman Richard Goodyear *Hoechst Celanese Corporation Barbara Johnson, Esq. Margery and Harry Kahn Philanthropic Fund Kornreich Insurance Services Mr. & Mrs. Robert Klein George Meyer Annette Reed Arthur Ross Foundation *The Salomon Foundation The L.J. Skaggs and Mary C. Skaggs Foundation Sotheby's *Squibb Corporation Robert N. & Anne Wright Wilson Norman & Rosita Winston Foundation $2,000-$3,999 American Folk Art Society Berry Hill Galleries Inc. The Mary Duke Biddle Foundation Mr. & Mrs. Thomas Block *The Coach Dairy Goat Farm Country Home *Exxon Corporation Mr. & Mrs. Alvin Einbender Janey Fire Justus Heijmans Foundation Johnson & Johnson Knapp Communications Corporation Mr. & Mrs. Richard LeFrak
Mr. & Mrs. Daniel W. Lufkin *Marsh & McLennan Companies *McGraw-Hill, Inc. *Metropolitan Life Foundation *Morgan Stanley & Co., Incorporated New York City Department of Cultural Affairs *New York Telephone Company *The New York Times Company Foundation, Inc. *Ortho Pharmaceutical Corporation *J.C. Penney Company, Inc. Laura H. Petito Foundation *The Reader's Digest Association, Inc. Robert T. & Cynthia V.A. Schaffner Mr. & Mrs. Derek V. Schuster Joel & Susan Simon Mr. & Mrs. Austin Super Mr. & Mrs. Richard T. Taylor *Time Inc. Triangle Foundation Vista International Hotel Adrienne Vittadini Inc. David & Jane Walentas $1,000-$1,999 B. Altman & Co. Brooke Astor The Bachmann Foundation Didi & David Barrett Mr. & Mrs. Frank Barsalona Stephen Bell Mr. & Mrs. Albert Bellas *Bill Blass, Ltd. *Bozell, Jacobs, Kenyon & Eckhardt Mr. & Mrs. Edwin Braman Edward Lee Cave *Liz Claiborne Foundation *Consolidated Edison Company of New York *Crane Co. Joseph E Cullman 3rd David Davies Richard K. Descherer Mr. & Mrs. Alvin Deutsch Mr. & Mrs. Donald DeWitt *Echo Foundation Virginia S. Esmerian John L. Ernst Faith Golding Foundation Inc. Mr. & Mrs. Stuart Feld Mr. & Mrs. Thomas Ferguson M. Anthony Fisher George Friedman Mr. & Mrs. Richard S. Fuld, Jr. Generra Sportswear Co., Inc. Emanuel Gerard The Howard Gilman Foundation Renee Graubert Mr. & Mrs. Martin D. Gross Mrs. & Mrs. Charles Gwathmey Terry & Simca Heled The Betty L. Hess Fund Hirschl & Adler Galleries Stanley Jaffee Productions Judith A. Jedlicka William K. Joseph Isobel & Harvey Kahn 79
E7t1 CURRENT MAJOR DONORS
*Kallir, Philips, Ross, Inc. The Karp Foundation The Kihi Mr. & Mrs. Arie L. Kopelman Susan Kudlow Mr. & Mrs. Jeffrey Lane Estee Lauder Inc. Mr. & Mrs. Ronald Lauder Wendy & Mel Lavitt Estate of Mary B. Ledwith John A. Levin Co., Inc. Dorothy & John Levy Mr. & Mrs. Arthur Liman *Macmillan, Inc. Robert & Betty Marcus Foundation, Inc. Mr. & Mrs. James H. Manges Marstrand Foundation Christopher & Linda Mayer Helen R. Mayer & Harold C. Mayer Foundation Meryl & Robert Meltzer Michael & Marilyn Mennello Robert & Joyce Menschel Foundation Steven Michaan *National Westminster Bank USA The Natori Company *Nestle Foods Corporation New York Council for the Humanities Mr. & Mrs. Donald E. Newhouse Mattie Lou O'Kelley Mr. & Mrs. Edward Pantzer Penn Conn Limited Mr. & Mrs. Mark Perlbinder Mr. & Mrs. Roger Phillips Mr. & Mrs. William Potter Ramac Corporation Cathy Rasmussen Mrs. John D. Rockefeller III Alyce & Roger Rose Willa & Joseph Rosenberg Schlaifer Nance Foundation Mr. & Mrs. William Schneck R.D. Schonfeld & Co.,Inc. Mr. & Mrs. Richard Sears Rev. & Mrs. Alfred R. Shands III George Sheinberg Ronald K. Shelp Mrs. Vera W. Simmons Philip & Mildred Simon Mrs. A. Simone Mr. & Mrs. Elie Soussa Sanford L. Smith Paul Stuart Mr. & Mrs. Stanley Tananbaum Stanley & Doris Tannenbaum Foundation Mr. & Mrs. Michael L. Tarnopol That Patchwork Place Tiffany & Co. Tishman Speyer Properties H. van Ameringen Foundation Tony & Anne Vanderwarker Veronis, Suhler & Associates John Weeden Mr. & Mrs. Ronald Weintraub Mr. & Mrs. Ronald Whitman Weiss *Wertheim Schroder & Co. 80
Mr. & Mrs. Jon Wurtzburger $500-$999 APCO Corporation Dither Aaron Robin Albin Anthony Annese Louis Bachman Nancy Bachrach David C. Batten Roger S. Berlind Jeffrey & Mary Bijur Eleanor Dell Billet Robert & Katherine Booth Carolyn & Kenneth Brody Edward J. Brown Nan Bush Inc. Mr. & Mrs. Ward Carey Colwill/McGee, Inc. Confluence Edward & Nancy Coplon Judy Angelo Cowen Edgar M. Cullman, Jr. The Danunann Fund,Inc. Andre & Sarah de Coizart Oscar de la Renta Mr. & Mrs. James DeSilva, Jr. Marion & Ben Duffy Foundation Mr. & Mrs. James A. Edmonds, Jr. Richard C. & Susan B. Ernst Foundation Mr. & Mrs. Howard Fertig Janet Fleisher Gallery Timothy C. Forbes Kenneth & Brenda Fritz Riki Gail Interiors Peter Gee Katharine S. Gilbert Gomez Associates Dr. & Mrs. Stanley Greenberg Grey Advertising, Inc. Cordelia Hamilton The Charles U. Harris Living Trust Denison H. Hatch Craig M. Hatkoff Holiday Inn of Riverhead Raymond E. Holland David Horowitz Mr. & Mrs. Thomas C. Israel Cathy M. Kaplan Mary Kettaneh Mr. & Mrs. Jonathan King Jana K. Klauer Joel & Kate Kopp Elaine Koster Helene-Diane Kravis Dalia Leeds William & Susan Leffler Mr. & Mrs. Peter Levy Lynn M. Lorwin Helen E. & Robert B. Luchars Manderley Antiques Hermine Mariaux Robin & William Mayer Mr. & Mrs. D. Eric McKechnie Gad Mendelsohn
Christie Ferer Millard Mr. & Mrs. Richard Netter Dr. Burton W. Pearl Mr. & Mrs. Lawrence B. Pike Priory Partners Betty Ring Dorothy Roberts Trevor C. Roberts Joanna S. Rose Jon 8z Sue Rotenstreich Foundation Richard Sabino Saks Fifth Avenue Mary Frances Saunders Skidmore Owings & Merrill Smith Gallery Richard & Stephanie Solar SONY Corporation of America David F. Stein Robert C.& Patricia A. Stempel Sterling Sound Syracuse Airport Inn Texaco Philanthropic Foundation, Inc. Marco P. Walker Washburn Gallery Bruce Weber Anne G. Wesson Mr. & Mrs. John R. Young Marcia & John Zweig The Museum is grateful to the CoChairwomen of its Special Events Committee for the significant support received through the Museum's major fund raising events chaired by them. Karen D. Cohen Cynthia V. A. Schaffner Karen S. Schuster The Museum also thanks the following donors for their recent gifts to the Permanent Collection and Library: Ben Apfelbaum Ben Apfelbaum in memory of Robert Perlmutter Robert Bishop Catherine Cahill Mr. and Mrs. James Clokey III(Promised Gift) Bequest of Jack Fenstermacher Herbert W. Hemphill, Jr. Dr. Ron Hill, Director of the John C. Campbell Folk School Howard and Shirley Lanser James C. Litz Helen Popkin Steve and Courtney Ross, Warner Communications Inc. Charles and Eugenia Shannon(Promised Gift) Gift in memory of Mr. and Mrs. R.A. Siegel, Atlanta, GA Bequest of Eleanor P. Staples in memory of her husband, Philip C. Staples, Jr. William Woys Weaver Mrs. Dixon Wecter
*Corporate Member The Clarion
THE
The Sweet Nellie Book ofThoughts, Sentiments, Tokens C.94 Traditions ofthe Past
by Pat Ross Photo: David Phelps
Visit The Conservatory, offering a charming Park setting and convenient location, which combine to create the ideal spot to dine. Enjoy a lovely Pre-Theater dinner, 5-7pm, for just $16.50, or try our Sunday Brunch, noon-4pm, including a complimentary cocktail, for only $15.50. Or simply stop by any time; we're open daily 7am—midnight, cocktails until lam. Live entertainment during Brunch and Tue.—Sat. 6-9pm. Private function rooms also available. Reservations 581-1293 or 581-0896.
WITH THANKS & APPRECIATION Framed calling cards and Liz Lawrence vase at Sweet Nellie
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Allow 3-5 weeksfor delivery. CHECK OR M.O. ONLY.Make checks payable to Sweet Nellie. Thank you!
5'
TWO NEW BOOKS ON ACCESS TO ART AND VISUAL IMPAIRMENT JUST PUBLISHED!
Access to Art: A Museum Directory for Blind and Visually Impaired People Published jointly by the Museum of American Folk Art and the American Foundation for the Blind, Access to Art: A Museum Directory for Blind and Visually Impaired People lists art museums, historical societies, and other facilities that provide services for blind and visually impaired visitors. Released in conjunction with the Museum's ACCESS TO ART program and traveling exhibit, this easy-to-use guide also lists art-related resources and services for blind and visually impaired persons. Extensive bibliographies on materials about art on cassette, in braille, or in large print; about teaching art to blind and visually impaired students; and about accessibility in museums and galleries provide a valuable resource for artists, educators, and museum personnel. Illustrated with photographs of objects from the Museum of American Folk Art's collections. ISBN 0-89128-156-8 Cat. No. PIL156 $11.95 Available in large print, cassette, and braille editions.
What Museum Guides Need to Know: Access for Blind and Visually Impaired Visitors by Gerda Groff with Laura Gardner Photos by Oraien E. Catledge What Museum Guides Need to Know: Access for Blind and Visually Impaired Visitors provides practical, easy-to-use guidelines on how to greet and help blind and visually impaired museumgoers. With numerous photographs taken at the High Museum of Art and the Atlanta Historical Society, this handbook also covers aesthetics and visual impairment, legal requirements for accessibility, resources, a training outline for museum professionals, a bibliography on art and museum access for blind and visually impaired persons, and guidelines for preparing large print, braille, and cassette materials. Published by the American Foundation for the Blind. ISBN 0-89128-158-4 Cat. No. PIL158 $7.95
To order, send payment along with title of book(s) requested (include postage and handling charge of $2.50; add $1.00 per book for each additional book ordered) to: American Foundation for the Blind, 15 West 16th Street, New York, NY 10011; or call (201)862-8838. For information on quantity discounts call (212)620-2143.
MUSEUM NEWS COMPILED BY WILLA S. ROSENBERG
Students will learn to identify and understand American furniture styles. Each period will be explored in the context of its historical background, stylistic and design characteristics, construction details and function.
FOLK ART INSTITUTE Registration is now open for the Spring session of the Museum's Folk Art Institute, which begins January 23,1989. The course fee for fully matriculated students is $75 a credit. Auditors are welcome on a space available basis at $15 a session. A reduced fee is offered to auditors who register for the whole series of 15 sessions. Fees for the craft and heritage courses are as listed below. Lecture fees for members ofthe Museum or National Society of Colonial Dames are $25 for the series of four and $8 for single lectures;for non-members the cost is $35 for the series and $10 for single lectures. Lectures will be held at the headquarters of the National Society of Colonial Dames,217 East 71 Street, New York City. The following program is subject to minor changes. For further information, call or write the Folk Art Institute, 444 Park Avenue South, New York, NY 10016-7321; tel. 212/481-3080. FA 02
AMERICAN ART Wednesdays
10:00am-12:30pm
Instructor:
Barbara Cate Director, Folk Art Institute Associate Professor of Art History
FOLK ARTISTS IN AMERICAN LIFE Wednesdays
6:00pm-8:30pm
Instructor:
Henry Niemann PHD Candidate in American Folk Art Studies
AMERICAN TEXTILES: PLAIN AND FANCY Tuesdays
10am-12:30pm
Coordinator:
Mimi Sherman Fellow of the Museum of American Folk Art
Coordinator.
Lee Kogan Shashkan Fellow of the Museum of American Folk Art
April 3
NEW YORK STATE AND NEW ENGLAND FOLK ART Speaker: Mary Black Consulting Curator of the Museum of American Folk Art
April 10
NEW YORK CITY FOLK ART Speaker: Gerard C. Wertkin Assistant Director of the Museum of American Folk Art
April 17
PENNSYLVANIA GERMAN FOLK ART Speaker: Ralph Esmerian President of the Board of Trustees of the Museum of American Folk Art
April 24
SOUTHERN FOLK ART Speaker: Cynthia Rubin PhD Candidate in American Folk Art Studies
May 1
SOUTHWESTERN FOLK ART Speaker: Dr. Robert Bishop Director of the Museum of American Folk Art
FA 84
REGIONAL FOLK ARCHITECTURE
Winter 1989
AMERICAN FURNITURE: FOLK AND FINE Thursdays
9:30am-11:30am
Instructor:
Dr. Robert Bishop Director of the Museum of American Folk Art
1 credit
5 Mondays
10:00am-12:30pm
Coordinator
Alice Hoffman Fellow of the Museum of American Folk Art Team-taught by the staff of the Museum of American Folk Art
Regional examples of domestic architecture in the vernacular tradition. This is the first in a series of five-session courses on this topic. January 23
LOG CABINS Speaker: Liz Warren Curator of the Museum of American Folk Art
January 30
SHAKER ARCHITECTURE Speaker: Gerard C. Werkin Assistant Director of the Museum of American Folk Art
February 6
SHORE HOUSES Speaker: Anne Marie Reilly Registrar of the Museum of American Folk Art
February 13
SOUTHWESTERN ARCHITECTURE Speaker: Didi Barrett Director of Publications of the Museum of American Folk Art
February 20
FOLK ENVIRONMENTS Speaker: Michael McManus Director of Exhibitions of the Museum of American Folk Art
3 credits
A survey of American textiles, including samplers, embroideries, rugs, quilts, coverlets, costume and cloth dolls. Experts in these fields will lecture on their specialties.
FA 35
1 credit
3 credits
The traditions 01101k art in American life, presenting a broad spectrum of folk expressions in painting, sculpture, textiles, ceramics and furniture to prepare students for all courses.
FA 26
REGIONAL FOLK ART 5 Monday evenings 6:00pm-8:30pm
3 credits
The history of American art from the naive portraits of 1670 through the great likenesses by Copley, covering the Hudson River School, Homer, Eakins and the Ashcan School. Special attention will be given to the differences between fine and folk art FA 10
FA 82
2 credits
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MUSEUM NEWS
putty and other traditional tools. Learn to do knots and the grains of different woods. Students will bring in an object to paint.
LECTURE SERIES - CORNERSTONES OF AMERICAN FOLK ART Co-Sponsored by the National Society of Colonial Dames
Tuesday evenings 6:30-7:30pm WS 504B MARBLEIZING
April 4
5 Thursday Evenings 6:00pm-8:00pm April 6, 13, May 4, 11, 18
THE PIONEERING SPIRIT Speaker:
Herbert Waide Hemphill, Jr. Instructor: Fee:
Among the most celebrated figures of twentieth century folk art is Herbert Waide Hemphill, Jr., pioneering collector and author and former curator of the Museum of American Folk Art. His talk will describe his adventures and acquisitions in his chosen field.
Rubens Teles $85
A concentration on the intricacies of marbleizing, using glazes and water-based paints, as well as brushes, feathers and other unorthodox instruments. Students will bring in their own projects on which to work.
April 18 GRANDMA MOSES: SHE LED THE WAY Speaker:
Jane Kallir
Anna Mary Robertson, better known as Grandma Moses, began her career as an artist in her 70's. She became a nationally known figure recognizable to millions of Americans. Pioneer that she was, she blazed the trail for others who were untrained but talented. Speaker Jane Ka!lir, co-director of the Galerie Si Etienne, is the leading authority on Grandma Moses.
May 2
WS 510
MAKING A NUT-HEAD HARVEST DOLL Friday
February 3 10:00am-4:00pm
Instructor: Fee: Materials:
Nancy Wells $65 $10
THE MOST IMPORTANT FOLK ART SALES OF OUR TIME Speaker:
THEN TO NOW: 1930-1989 Speaker:
Learn to make a stuffed, wire-body doll with a painted nut head dressed in simple clothing, adding ribbons and ornaments to your own taste. Bring a pair of scissors.
Nancy Druckman
As Vice-President of American Folk Art Painting at Sotheby's, Nancy Druckman has her finger on the pulse of the folk art market. By selecting and discussing the cornerstone sales of our time, she will reveal the pattern of taste and the trends in the folk art market.
May 9
SINGLE FULL-DAY SESSIONS
Dr. Robert Bishop
Dr. Bishop, Director of the Museum of American Folk Art, historian and author, will point out the key movements and events that have shaped folk art in twentieth century America. As we near the close of this century Dr. Bishop will draw conclusions from the past and make predictions for the future.
HANDS-ON AND HERITAGE COURSES All courses listed below provide hands-on experience; no prior experience is necessary Classes are limited in size; your check reserves your place.
WS 512
MAKING A SHAKER CHEESE BASKET Friday
February 10 10:00am-4:00pm
Instructor: Fee: Materials:
Meredith Betz $65 $15
This is a round ash basket with a snow-shoe weave, about 8 inches in diameter and 4 inches high. Ideal for filling with greens and hanging as a wreath. WS 506B SCENE PAINTING ON PANELS OR BOXES Friday
February 17 10:00am-4:00pm
Instructor: Fee: Materials:
Rubens Teles $65 $10
Learn to paint country scenes or seascapes using color to create perspective, sponges to fashion trees and antiquing techniques to add nostalgia to the paintings. Bring a canvas, panel, box or whatever you wish to decorate.
5-SESSION COURSES WS 513 THEOREM PAINTING WS 5038 GRAINING 5 Thursday Evenings 6:00pm-8:00pm January 26, February 2, 9, 16, 23 Instructor: Fee:
Rubens Teles $85
A concentration on the intricacies of graining, using combs, sponges, rags, brushes,
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Thursday
March 16 10:00am-4:00pm
Instructor: Fee: Materials:
Linda Lefko $65 $10
An Introduction to the 19th century art of painting on velvet from stencilled patterns You will finish a small theorem. A list of the supplies needed will be sent to you.
The Clarion
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The Great American Dream Machines by Rosebee, 36" x 42" acrylic on masonite with 10" high 3-dimensional top.
THE LIBERTY TREE Gallery of Contemporary American Folk Art 128 Spring Street, Newport, Rhode Island 02840(401)847-5925 At Bergdorf Goodman, 5th Avenue at 57th Street (7th Floor), New York City NY 10019(212) 753-7300
MUSEUM NEWS
WS 514
SCHERENSCHNITTE Friday
March 17 10:00am-4:00pm
Instructor: Fee: Materials:
Linda Lefko $65 $5
Fee; Materials:
Introduction to the art of embroidering in wool on linen. You will create an old, authentic pattern in this traditional form of needlework.
Scherenschnitte is the Pennsylvania German craft of cutting paper into intricate patterns. You will create a traditional design, on watercolored paper, suitable for framing. A list of the supplies needed will be sent to you.
WS 516
WS 508B RUG BRAIDING Friday
March 24 10:00am-4:00pm
Instructor: Fee: Materials:
Nancy Young $65 $15
CREWEL EMBROIDERY Friday
March 31 10:00am-4:00pm
Instructor:
Shirley B. Sacks
6 6 M EMORIES
PAPER MAKING Friday
April 7 10:00am-4:00pm
Instructor: Fee: Materials:
Denise Held $65 $10
You will form sheets of handmade paper created from slurries of linter and recycled materials, adding straw and natural colors. Only the traditional techniques will be used.
Learn to braid an all-wool rug by starting a chair pad. You will be taught to measure, calculate the amount of fabric, lace, use color and create patterns. Bring a pair of scissors. WS 515
$65 $10
WS 517
RUG HOOKING Friday
April 14 10:00am-4:00pm
Instructor: Fee: Materials:
Anne Eastwood $65 $15
You will learn to make a small patterned piece on a hoop using hand-dyed wool in the traditional rug hooking manner.
OF CHILDHOOD" CRIB QUILT CONTEST
the Museum of American Folk Art and author of Young America:A The Museum of American Folk Art is pleased to announce the following winners of the "Memories of Childhood" Crib Quilt Folk Art History. The prize-winning crib quilts will be on display during The Great Contest organized by the Museum and sponsored by Fairfield Processing Corporation/Poly-filp Springs Industries, and Coats & Clark, Inc. American Quilt Festival 2 which will run from April 26 to 30,1989 The following distinguished experts in the quilting field served as at the New York Exhibition Pier #92, West 52nd Street and the judges: Moneca Calvert, Grand Prize Winner of the 1986 Great Hudson River, New York City. The Festival will be open American Quilt Contest; Jeff Gutcheon, architect/designer, Wednesday from 6:00 to 9:00 p.m., Thursday, Friday and quiltmaker, New York quilt retailer; Carter Houck, Editor of Lady's Saturday from 10:00 a.m. to 7:00 p.m. and Sunday from 11:00 Circle Patchwork Quilts; Lawrence Kane, Executive Editor of a.m. to 6:00 p.m. Many wonderful entries were received and thejudges' decisions Family Circle; Bonnie Leman, Publisher and Editor of Quilter's on the basis of originality, execution of theme, craftsmanship/ Newsletter Magazine; Cyril I. Nelson, Editor at E.P. Dutton and originator of The Quilt Engagement Calendar; Donna Wilder, needlework, and overall appearance were particularly difficult to Director of Marketing at Fairfield Processing Corporation, orga- make. The prize-winning crib quilts are as follows: nizer of Wearable Art Fashion Show; Elizabeth V. Warren,Curator of FIRST PLACE WINNER "Childhood Memory #44 — The Cellar" Elaine Spencer — Colorado SECOND PLACE WINNER "When Toys And I Were One" Jane Blaire — Pennsylvania THIRD PLACE WINNER "My Dolls" Hanne Wellendorph — Denmark ALABAMA "Aunt Helen's Chest of Treasures" Barbara Taylor
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ALASKA "Nessie of Neva Strait" Mary Janine Holzman ARIZONA "Little Bear on the Prairie" Linda Aiken ARKANSAS "My Childhood Memories: Peter Pans and Mary Janes" Lucinda S. Livingston CALIFORNIA "A Mother's Dream" — Judges' Choice Award Linda K. O'Dell
COLORADO "Our Trip to Florida" — Judges' Choice Award Patti Hawkins CONNECTICUT "I'm Going Up the Beach" Marguerite Malwitz DELAWARE "Dream Catcher" Deborah D. Barr DISTRICT OF COLUMBIA "Jumping Jacks" Petra Scheibe-Teplitz
The Clarion
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MUSEUM NEWS
Contestjudges Carter Houck, Elizabeth V. Warren and Donna Wilder evaluate a crib quilt entry as assistant Karen Walsh looks on. FLORIDA "My Tea Party" Rita Denenberg GEORGIA "Queen Alice" — Judges' Choice Award Wendy Analla HAWAII "Lia Lovely/011ie Awful" W Kim Messier IDAHO "We Had Paper Dolls...and Our Imaginations" Joyce Stewart ILLINOIS "The World According to Sidney: A Child's Crayon Etching" — Creative Interpretation Award Sidney Allee Miller INDIANA "Red Sunglasses — 1958" — Judges' Choice Award Lana Trott IOWA "Heritage Quilt: Pieces and the Past" Carla Johnson Hassel KANSAS "I Remember Daydreaming" Lod Backes KENTUCKY "It Was All So Black and White" — Creative Interpretation Award Teresa Tucker Young LOUISIANA "The Gift of Flowers" Susie Drell MAINE .As I Fall Asleep" Dianne Hire MARYLAND "Alphabet Sampler Quilt" Carol H. Gersen MASSACHUSETTS "Blackout on Beacon Street" — Judges' Choice Award Kathleen Weinheimer MICHIGAN Nameless Isolde Sarnecki-DeVries MINNESOTA "Time's Treasury" Maria A. Forcier MISSISSIPPI "Me and My Dog Tip" Martha B. Skelton MISSOURI "Treasures of the Past" Alleta Whittaker
Winter 1989
MONTANA "Packing in Winter Supplies" Sharon Logan NEBRASKA "Picture-Books in Winter" Paulette Peters NEVADA "Afternoon in the Attic" Bonita K. Hadley NEW HAMPSHIRE "Simple Pleasures" Faye Labanaris NEW JERSEY "Rhymes of My Childhood" Helen B Andresen NEW MEXICO "Greetings" Susan R. Dulaney NEW YORK "Once Upon a Box of Crayons Paula Nadelstern NORTH CAROLINA "Down the Dusty Road of Memory" Mary Berry NORTH DAKOTA "Let's Play, Teddy!" Carol A. Lees OHIO "Dress-Up" Beverly L. Melrose OKLAHOMA "Sweet Remembering...Kama'aina Keiki" Mary Alice Kenny-Sinton OREGON "Variable Summer Stars" JoAnne Cutler PENNSYLVANIA "When Toys and I Were One" Jane Blair RHODE ISLAND "Connecting Threads" Barbara W Barber SOUTH CAROLINA "Rhymes Remembered" Nalda Lagakis SOUTH DAKOTA "For Grandpa" — Judges' Choice Award Dawn E. Amos TENNESSEE "My World in the 1920's" Mozelle Hendrix TEXAS "Treasures" Helen Giddens UTAH "Down Hollyhock Lane" —Judges Choice Award Marva Dalebout "Through McGregor's Garden" Jodi G. Warner VERMONT "Hail the Prince" Mary P Kennedy VIRGINIA "Patches of Memories in the Maze of Childhood" — Imaginative Use of Detail Award Linda M. Pool WASHINGTON "Missouri Memory" Shirley Perryman
WEST VIRGINIA "Chasing Fireflies" Janet Underwood WISCONSIN "Designing Doll Dresses" Jean Teal WYOMING "Spring on the Farm" Sarah May Robinson AUSTRALIA "I Broke the Gander's Leg" —Judges' Choice Award Denise Vanderlugt CANADA "Memories' Playground" Sheila Ruth Maloney DENMARK "My Dolls" Hanne Wellendorph ENGLAND "Blow the Wind Southerly" — Workmanship Award Linda Negandhi FRANCE "Le Cirque (The Circus)" Denyse Saint-Arroman JAPAN "Harbinger of Spring" Sanae Hattori NEW ZEALAND "Grandfather Took Me to the Zoo to See the Elephants" Jo Cornwall SWITZERLAND "Happy Days" Anne Chenaux WEST GERMANY "Animal Pullle" Inge Schulz-Loffler
In addition, Honorary Winners are: Raenell Doyle, Alaska; Linda E. Waselkov, Alabama; Patricia Eaton, Arkansas; Sachiko Sudo, California; Janet L. Paluch, California; Sherri B. Driver, Colorado; Peggy A. Horsfield, Marion Rowen, Georgia; Rebekka Seigel, Kentucky; Nancy Prendergast, Massachusetts; Julie K. Miscera, Minnesota; Suzanne Marshall, Missouri; Shelly Burge, Nebraska; Lucinda McKenney, New Hampshire; Judy B. Dales, New Jersey; Patricia Mink, New York; Gale Thomson, Ohio; Susan G. Hargrave, Ohio; B.J. Elvgren, Pennsylvania; Rosann Wood, Tennessee; Mary Ann Herndon, Texas; Laura Tomita Lyons, Utah; Rita Monet, Wisconsin;Yolanda M. Gifford, Australia; and Natacha Wolters, West Germany. The Museum wishes to thank Vista International Hotel for the use ofits facilities for the quilt judging. Thanks go also to the following volunteers: Jacqueline Atkins, Susan Faeder, Edith Garshman, Paula Laverty, Ann Rothman, Mimi Sherman, Karen Walsh and Maryann Warakomski.
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THE NANTUCKFT COIA ECILION A collection ofcontemporary and traditional band booked rugs designed by Nantucketfolk artist, Claire Murray. Angel Gabriel rug;approx.size:32"x 43"; kit:$199.50, orfinished rug(available in the spring):$297.50. Call or writefor our catalog;$5, Refundable onfirstpurchase.For wholesale information callJuditb Selley:6031429-0019. MENANTUCKET COLLECTION PO.Box 2489,Dept.F Nantucket, MA 02584 1-800-323-YARN Info:1-508-228-1913
111)
c ANGEL GABRIEL A Claire Murray Original
WILL MOSES: The Tradition Continues While Will Moses' work is reminiscent of his celebrated anmstor Grandma Moses, it has its own contemporary sophistication which has won critical acclaim throughout the art world. Today, he is regarded as a leading painter and chronicler of Americana.
"Street Dance" • 29 Color Original Lithograph • 24 3/4" x 35" • Edition 375
AMERICAN PORTFOLIO • P.O. Box 309 • Englishtown, N.J. 07727 •(201) 577-0622 •(800) 338-4720 88
STEPHEN HUNECK R.E D. 1 ST. JOHNSBURY, Vf 05819 BY APPOINTMENT 802-748-5593
Carved, painted and decorated secretary desk by Vermont artist Stephen Huneck, circa 1988. 2 inches / H: 79 inches, W: 42 inches, D: 181 SQ
MUSEUM NEWS
FALL ANTIQUES SHOW The tenth annual Fall Antiques Show at the Pier opened at Pier 92 on October 19, 1988 with a gala first night preview honoring Ralph Lauren and benefiting the Museum. The Museum is appreciative of American Primitive, Judi Boisson, Nikki and Tom Deupree, M. Finkel & Daughter, Gaglio/Molnar, Inc., Fae B. Haight Antiques, Hillman/Gemini Antiques, Hirsch! & Adler Folk, Keller-Malce, Susan Parrish, Richard & Betty Ann Rasso Antiques, Sterling & Hunt, Thos. K. Woodard and Shelly Zegart Quilts for providing the art works for the Conestoga Wagon display, "Folk Art of the Westward Movement:' created by Ralph Lauren. Honorary Chairman of the evening was Mrs. Ronald Reagan. Honorary CoChairmen were Woody Allen, Mia Farrow, Audrey Hepburn, Annette Reed, Steven and Courtney Ross, Marvin and Lee Traub and Bruce Weber. Museum Trustee Karen D. Cohen was Chairman of the benefit evening and Corporate Chairmen were Edgar M. Cullman and Trustee Lucy C. Danziger. The evening's Co-Chairmen were Trustees Cynthia V.A. Schaffner and Karen S. Schuster. Dinner Chairmen were Trustee Bonnie Strauss, Karen Karp and HeleneDiane Kravis and the Preview Chairman was Trustee Susan Klein. The Program Chairman was Trustee Kathryn Steinberg and the Walking Tour Chairmen were Dr. Robert Bishop, Director of the Museum, Helaine Fendelman and Rachel Newman. The Museum wishes to thank the following for underwriting the festive Victorian dinner reception held in a barn setting designed by George J. Grisko, Inc. and decorated with portraits lent by Hirsch! & Adler Folk: Corporate Benefactors Amster, Rothstein & Ebenstein; Bidermann Industries U.S.A., Inc./Ralph Lauren Womenswear; Designer Fragrance DivisionCosmair, Inc.; Dillard Department Stores, Inc.; Federated Department Stores Foundation; The Greif Companies; Klear-Knit Inc.; R.H. Macy & Co., Inc.; Mahoney, Cohen & Co., P.C.; Manifaro Inc.; Manufacturers Hanover Trust Company; The May Department Stores Company; Polo For Boys/Oxford Industries; Polo/Ralph Lauren Eyewear; Polo/Ralph Lauren Hosiery; Polo/Ralph Lauren Men's Wear (Canada); Poloco S.A.;
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Honoree Ralph Lauren and his wife Ricky share a moment at the opening night gala with Museum Director Robert Bishop.
Howard M. Graff member of the Museum's International Advisory Council, with Director of Development Johleen Nester.
Benefit Chairman and Museum Trustee Karen D. Cohen, secondfrom left, pauses during the festivities with her husband, Peter Cohen, right, and Leonard and Evelyn Lauder.
The Clarion
MUSEUM NEWS
ACCESS TO ART ©, Ralph Lauren Footwear, Inc.; Ralph Lauren .7 Womenswear Canada Ltd.; Ritz International; Seibu Corporation of America; Skadden, Arps, Slate, Meagher & Flom; J.P. Stevens & Co., Inc.; Warnaco, Inc.; Waterford Wedgwood U.S.A., Inc.; Wells, Rich, Greene, Inc.; Whisper Knit and WilliamsSonoma, Inc. and Corporate Sponsors Cowen & Company; Culbro Corporation; H.J. Kalikow and Company; Kohlberg Kravis Roberts & Co.; Naomi Leff and Associates, Inc.; Reliance Group Holdings, Inc.; Republic National Bank of New York; The Revlon Group, Inc.; Shearson Lehman Hutton; Salomon Brothers, Inc.; Richard J. Schwartz; Tinicum, Inc.; Wathne, Ltd. and Willkie, Farr & Gallagher. Many thanks also to Howard Drubner of Craftsmen Litho for printing the invitations and program; producer of the Fall Antiques Show, Sanford L. Smith; David Ziff Cooking, Inc.; Joseph E. Seagram & Sons, Inc.; Waterford Wedgwood U.S.A., Inc. and Michael Martin Murphey for the evening's music. Marina Sturdza introduced Ralph Lauren and Ralph Esmerian, Chairman of the Board of Trustees of the Museum, presented him with a unique gift — a saddle maker's trade sign shaped as a prancing horse as a memento of the event. As usual, the Museum Shop Staff under the direction of Marie DiManno and the Membership Department under the guidance of Beth Bergin made a significant contribution to the Museum by working long hours throughout the show. We offer our appreciation to the following volunteers: Hildegard VetterJones, Dianne Butt, Daniela Brown, Marjorie Nezin, Meg Smeal, Sheila Brummel, Lee Kogan, Tom Cuff, Howard and Florence Fertig, Kennetha Stewart, Maryann Warakomski, Marjorie Nezin, Alice Sinkoff, Mildred Gladstone and Pat Van Note.
Paul Martinson and Museum Trustee Florence Brody, above, Dustin and Lisa Hoffman, center, and Museum Director Robert Bishop with Courtney and Steve Ross, below, were photographed at the Fall Antiques Show's opening night party.
Access to Art: A Museum Directoryfor Blind and Visually Impaired People will be published February 1, 1989. This comprehensive large type resource published by the American Foundation for the Blind and the Museum provides information on more than 600 museums and historical societies with specialized access. It also includes extensive bibliographies of books on art in large print, braille and on tape, as well as photos of objects from the Museum's collection. The directory is one ofthree publications to be honored at the Josephine L. Taylor Institute "Leadership Through Literature" Conference to be held in Atlanta in February 1989 at which Rosalind Carter has agreed to be the keynote speaker. Access to Art continues to gain additional national and international recognition. Director Irma Shore has been appointed to the Mayor's Office for the Handicapped, Advisory Council, New York City. Renee Wells, a member of the Access to Art Advisory Board, was invited to speak about the project at a conference held recently in Paris and London. And a television program produced by the Juvenile Diabetes Foundation was aired in November 1988 and included a segment about Access to Art. .10.A Ri?„
TWENTIETH CENTURY ARCHIVES Dr. Robert Bishop, Director of the Museum of American Folk Art, has announced that Charles and Jan Rosenak have generously given the Museum their collection of documents, photographs and audio and video tapes of twentieth century folk art and artists. This collection, to be housed at the Museum, will be available for research. Dr. Bishop noted the importance of these archives which represent unique material and, in many instances, the only documentation of the subject matter.
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MUSEUM NEWS
THE NEW YORK QUILT PROJECT
MUSEUM'S TRAVELING EXHIBITIONS During the coming months,the Museum is pleased to open two new traveling exhibitions — Access to Art: Bringing Folk Art Closer, from February 11 to April 2, 1989 at the New York State Museum, Albany, New York and The Pennsylvania German Hex Sign, running from January 1 to February 20, 1989 at the Marathon County Historical Society, Wausau, Wisconsin. "Access to Art: Bringing Folk Art Closer" is the first show organized through the Access to Art program at the Museum. The thirty objects selected from the Museum's collection for their tactile interest as well as their importance as an introduction to the field of folk art represent the first accessible folk art show in the United States. "The Pennsylvania German Hex Sign" organized by guest curators Don Yoder, Professor of Folklife Studies at the University of Pennsylvania, and Thomas E. Graves, Co-Editor of Keystone Folklore, will be accompanied by the book Hex Signs which can be ordered from the Museum of American Folk Art Book and Gift Shop, Mail Order Department, Two Lincoln Square, New York, NY 10023 ($29.95 hardcover and $17.95 softcover plus $4.50 shipping and handling. New York State residents please add sales tax.) As the Museum's exhibitions span the nation, plan to visit when they travel to your area. Enjoying the Museum's "Catch a Brass Ring" at the North Carolina Museum of Life and Science in Durham, last Spring, are Mrs. E.G. Matheson, trustee Patricia Kohler and collector Charlotte Dinger.
January 9-February 20,1989 The Pennsylvania German Hex Sign Marathon County Historical Society Wausau, Wisconsin tel. 715-845-7010 January 22-March 18, 1989 American Wildfowl Decoys Hickory Museum of Art Hickory, North Carolina tel. 704-327-8576 January 29-March 25, 1989 Catch A Brass Ring: Carousel Art From The Charlotte Binger Collection Huntington Museum of Art Huntington, West Virginia tel. 304-529-2701 February 11-April 2,1989 Access to Art: Bringing Folk Art Closer New York State Museum Albany, New York tel. 518-474-5877 February 12-April 30,1989 Life in the New World: Selections from the Permanent Collection of the Museum of American Folk Art Mississippi Museum of Art Jackson, Mississippi tel. 601-960-1515 March 12-May 7,1989 Amish Quilts from the Collection of the Museum of American Folk Art Fort Wayne Museum of Art Fort Wayne, Indiana tel. 219-422-6467 March 6-April 7,1989 The Pennsylvania German Hex Sign Reading Public Museum and Art Gallery Reading, Pennsylvania tel. 215-371-5850 April 16-June 10,1989 American Wildfowl Decoys Muscatine Art Center Muscatine, Iowa tel. 319-263-8282
The Long Island region completed its seven Quilt Days on October 15, 1988 with more than 800 quilts registered, documented and photographed. The New York City Quilt Day was also very successful, and to date, a total of 1,004 quilts, representing a wide variety of patterns and materials, have been identified. Future Quilt Days and locations within New York State are scheduled for March 18, 1989 in Westchester and Putnam Counties; April 8,1989 in Rockland and Orange Counties; April 15, 1989 in Ulster County; and April 17-18, 1989 in Schoharie County. Please contact Phyllis Tepper, Director of the New York Quilt Project, Museum of American Folk Art, 444 Park Avenue South, New York, NY 10016, telephone 212/481-3080, for further information.
SPRING EXPLORERS'TOURS PLANNED A special Texas tour will include visits to museums, private collections, historic sites and folk art environments in Houston and San Antonio. Planned for April when the beautiful Texas bluebonnets are in bloom, the trip will also feature stops at"painted churches"in the area. Arrange to join the Explorers' Club in Massachusetts from May 12 to 14, 1989, for a visit to the Brimfield Antiques Show, as well as several very special private collections of folk art. Members may make arrangements through the Membership office to fly to Boston and meet the tour. Become a Folk Art Explorer and join Museum members on the special day trips offered free to Sustaining Members ($250 and above), and at a cost of$55 to Members in other categories. A trip to private collections in Westchester County and a visit to the Wave Hill estate is planned for late May. Call the Membership Office at 212/481-3080 for further information and itineraries of the Texas and Massachusetts tours.
The Clarion
Cate Mandigo •
4868 Rockwell Street Hadley, NY 12835 (518)696-3984
OUR INCREASED MEMBERSHIP CONTRIBUTIONS AUGUST-OCTOBER 1988
We wish to thank the following members for their increased membership contributions and for their expression of confidence in the Museum: Arthur & Mary Barrett, Middletown, NY Sally Braun, Flint, MI Augusta R. Cohen, York, PA Mr. & Mrs. Alvin Deutsch, New York, NY
Mrs. Richard Faggioli, Watsonville, CA Timothy C. Forbes, New York, NY Joel Goldstein, Ringwood, NJ Pria E. Harmon, Waban, MA M. Anne Hill, New York, NY Mrs. Martha B. Jackson, Riverside, CT Anne & Vincent Mai,Port Washington, NY Marc Levitt Makos, Boston, MA Christine Mannix, Columbus, OH
Lucie M. Miral, Old Tappan, NJ Carol E. Parker, Mixed째 Park, NY Carol & Howard Schulman, Pepper Pike, OH Mrs. Henriette Schwartz, New York, NY Chris W. Self, Bellflower, CA Nancy Lee Siegel, Scarsdale, NY Dr. & Mrs. Marvin Sinkoff, Lake Success, NY Linda L. Stickelmeyer, Sharpsville, PA Marlene Zimmerman, Beverly Hills, CA
OUR GROWING MEMBERSHIP AUGUST-OCTOBER 1988 The Museum trustees and staff extend a special welcome to these new members: The Alprahamian Family, Tenafly, NJ Marion Amos, Dedham, MA Brooke D. Anderson, New York, NY Barbara Anderson, Topsham, ME Evelyn Anderson, San Francisco, CA Nancee Ariagno, Chicago, IL Joan M. Armbruster, New York, NY Lillian August, Westport, CT Helen Barer, New York, NY Dr. Allison Bell-Scttrag, Croton-On-Hudson, NY Lyla Dye Bendsen, Charlotte, NC Mary Anne Gallagher Benedetto, Croton-On-Hudson, NY Shelley Wellins Benjamin, Boston, MA Rick Berman, Atlanta, GA Janet Bernstein, Jericho, NY William Berta, New York, NY Leonidas J. Betts, Fuguay-Varina, NC Gemma M. Biggi, New York, NY Michael R. Bonne, Carthage, IN Vin Borrelli, Attleboro, MA Christine Mather Bothe, Perrysburg, OH Allen C. Bragdon, South Yarmouth, MA C.L. Brainerd Ill, Farmington, NM Marcia Breon, Modesto, CA Karen L. Bricker, New Cumberland, PA Howard Brookstein, Great Neck, NY Margot Broring, Duivendrecht, Holland Bonnie Brower, Middletown, NJ M. Daniela Brown, New York, NY Paul Burghard, San Antonio, TX Hilda A. Cameron, Wilmington, NC Fran Camoosa, Oakhurst, NJ William N. Campbell, Weston, CT David & Dorothy Carpenter, New York, NY Pamela Carrington, New York, NY Lee K. Caswell Antiques, Port Hope, Ontario, Canada 94
Elizabeth P. Catto, McLean, VA Janice Ciejek, Vero Beach, FL Hayward Cirker, Mineola, NY Margaret E. Clemons, Ceclarburg, WI Susan Beekman Clough, Rumson, NJ J.E Conley, Paintsville, KY ME & Mrs. Alexius C. Conroy, Greenwich, CT Aileen Conway, Victoria, BC Canada Adrian Cote, South Bend,IN Mr. & Mrs. Marshall Cox, New York, NY Sarrae Crane, New York, NY Mr. & Mrs. Benjamin F. Crane, Brooklyn, NY Mrs. R. Cushman, Port Washington, NY Sylvia N. Dalton, Charlotte, NC Herbert Danska, New York, NY Nancy S. Davis, Wilmington, DE Daisy Decazes, Geneva, Switzerland Didi Deglin, Middle Village, NY Ms. Anna Maria Del Carro, Astoria, NY Mrs. J. Dennis Delafield, New York, NY Nancy Delikat, Toledo, OH Richard G. DeNatale, Bryn Mawr,PA Carol Derfner, New York, NY Thomas P. DeVito, New York, NY Steve Diamant, San Francisco, CA Joanna Dowey, New York, NY Alice P. Doyle, West Hartford, CT Judith Drawe, Lizella, GA Nancie Dunn, Middlebury, VT Lauraine Dunn-Glispin, Miami, FL Susanne Edgerly, New Fairfield, CT Ms. Mamie Edson, Beaumont, TX Lorraine M.Erwin, Matthews, NC Markel & Penny Eskra, Eureka, CA Mirjam Farkas, Brooklyn, NY Farmington Library, Farmington, CT Ralph Fasanella, Ardsley, NY Linda M.Felts, Cordova, TN Barry Fields, New York, NY Kimberly Fink, New York, NY Minnie Finkelstein, Bronx, NY
Patricia L. Fox, Alta Loma, CA Florence Friedman, New York, NY Janet A. Gage, Newport, VT Ms. Rhonda Galpem, Marblehead, MA Paul H. Gerrie, Greensburg,PA Andrew Glasgow, Asheville, NC Elizabeth Goldfeder, New York, NY Vim H. Goldman, New York, NY Nancy Gould, Houston, TX Robert W. Grant, Hingham, MA Margo Grant, New York, NY Stanley & Marcia Greenberg, New York, NY Gary Greene, Lawrenceville, GA Barbara Gross, Marietta, GA Fae B. Haight, Doylestown, PA Cyrilla P. Hannen, New York, NY Patricia L. Hanuneke, Omaha, NE Phyllis C. Hancock, Cresskill, NJ Marilyn R. Hann, Minneapolis, MN Greg Harris, Tustin, CA Elaine Harrison, New York, NY Sue Ann Harrison, New York, NY Don Hauswirth, Amityville, NY Hester T. Hawkins, Houston, TX William Hellmuth, New York, NY Irene M. Henning, Huntington Village, NY Jean Hewitt, New York, NY Robert B. Hicks III, Franklin, TN Robert T. Hinely Jr., Atlanta, GA Barbara & Marks Hinton, Houston, TX John Paul Hodgson, Toronto, Ontario Canada Mr. & Mrs. Jack S. Hoffinger, New York, NY Sharon King Hoge, New York, NY Molly Hughes, Riverside, CA Robert W. Hughes, Scotts, MI Carolyn lu, New York, NY Elaine P. Jacobson, White Plains, NY Cathy Jankus, Crompond, NY Virginia Jasper, Centreville, VA Mary Ellyn Jensen, Davenport, IA The Clarion
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OUR GROWING MEMBERSHIP
Sheila Jerskey, New York, NY Suzi Jones, Washington, DC Katie Jones, Walnut Creek, CA Mrs. Dona G. Kaiser, High Point, NC Jill Keefe, Amagansett, NY Jane Keelips, West Redding, CT Linda Kelly, New York, NY Abby Kenigsberg, Syosset, NY Carolyn A. Kennedy, Palo Alto, CA Carl E. Kerr, Philadelphia, PA Harumi Kidokoro, New York, NY Maverick Killian, San Antonio,TX Roderick Kiracofe, San Francisco, CA Joanne Klein, Syosset, NY Ruth T. Kuhlman, Brooklyn, NY Diane M. Kutyla, Cranford, NJ C.P. LaFrance, New York, NY F. Elizabeth Lane, Braintree, MA Charlie Lederer, Greensboro, NC Barbara Lefkowitz, Ridgewood, NJ Susan Leness, New York, NY Gary Levine, New York, NY Ellen Liebman, Bronx, NY Marvin Liebman, Washington, DC Joanne R. Ligertwood, Chatham, NJ Stephanie Ligon, New York, NY Stellamay F. Lord, Santa Maria, CA Lynn M. Lorwin, New York, NY Mr. Eben Ludlow, New York, NY Deborah D. Lynch, Brooklyn, NY Solomon Magid, Roslyn Estates, NY James Maher, West Stockbridge, MA Mr. & Mrs. Richard F. Makely, Jewett, NY Kathleen Mandato, Redding,CT Arthur Mann, Haverford, PA Charles R. McCrae, Wyomissing,PA Dana Belliard McHugh, New York, NY Mrs. William McIlvaine, Chicago,IL Sandra McKnight, Washington, DC Mary E McKown, Wichita, KS Nancy Meier, New York, NY Jim Melson, Los Angeles, CA Eugene W. Metcalf, Oxford, OH Holly Metz, Hoboken, NJ Joyce Meyer, Tacoma, WA Morris A. Meyer, Dublin, OH Edward Miler, Sonoma, CA Albert E. Minucci, Barnstable, MA Dr. & Mrs. Akio E. Mitarnura, Hacienda Heights, CA Marion M. Mooney, New York, NY Charles Muller, Columbus, OH Mrs. W.H. Mullin, Auburn, CA Marilyn Murray, Poughkeepsie, NY Hirofumi Nakajima, Fort Lee, NJ Marian Waldron Nicastro, Redding, CT The Nichols Family, New York, NY Eileen Noonan, New York, NY Winter 1989
Michael Norkus, Brookline, MA Susan E. North, Alexandria, VA Katherine Noto, New York, NY Steven P. Novak, Greens Farms, CT Anne P. O'Dell, Pottstown, PA Evelyn Dilworth O'Kon, Richland, WA Beth Green Olesky, New York, NY Kristin H. Orejuela, Seattle, WA Linda Orizondo, Miami,FL Mr. & Mrs. William Osgood, Ridgefield, CT Janet Panagoulis, Plymouth, NH Carol Parks, North Hollywood, CA Jacque Parsley, Louisville, KY Michele Penque, Bronxville, NY Belinda Perez, Bronx, NY M. Griffin Perry, La Jolla, CA Penelope Perryman, East Islip, NY Karen Peterson, Dallas, TX Freear Pollard, New York, NY Jeff Pressman,Del Mar, CA Jean Putnam, Ellensberg, WA Gregory Quevillon, Mansfield, MA Sybil C. Ralston, Dunwoody,GA Mollie M. Reeves, Seattle, WA Jennifer Regan, Katonah, NY Rosemary Rehus, Glen Ridge, NJ Mitzi Reisen, West Orange, NJ Bobbi Renales, New York, NY Jean Rigg, New York, NY Robert S. Risman, Jr., Bolton Landing, NY Richard A. Romberg, Rochester, NY Nina & Richard Rosenberg, New York, NY Mrs. M.J. Ross, Great Neck, NY Freyda Rothstein, Beverly Hills, CA Steven J. Rowe, Newton, NH Donna Rufener, Livingston, NJ Sandra Rumayor, New York, NY Ms. Ruth E. Saken, New York, NY Sudee Sanders, Haddonfield, NJ Chuck Schmidt, Signal Mountain, TN Robert D. Schonfeld, New York, NY Mr. & Mrs. Walter Schruefer, Taneytown, MD Chariot Schwartz, New York, NY Marilyn G. Schwartz, New York, NY Leigh Vernor Seay, Goshen, NY Arlene Seidman, New York, NY Mrs. Ellyn Sheidlower, Great Neck, NY Meryl Shinder, New York, NY Linda L. Siebert, New York, NY Dorothy S. Siegel, Annandale, NJ Gloria Silverstein, New York, NY Marilyn R. Simon, New York, NY Mrs. H.V. Sjoberg, Santa Monica, CA Mrs. Margaret C. Smith, Tarrytown, NY Stephanie Smither, Houston, TX Genevieve S. Snozek, Abington, PA Pearl Somner, New York, NY
Sheila E. Speidel, Warrensburg, NY Dr. J. Spirer, New York, NY Linda Anne Stabile, Brooklyn, NY Doyle J. Stansel, San Bernardino, CA Kenneth J. Stanton, Brooklyn, NY Sheila Steger, Pittsburgh, PA Sue Steger, Hewlett, NY Audrey L. Steinbugler, New York, NY Jef Steingrebe, Bradford, NH Miriam Stone, New York, NY Ethel P. Storck, Royal Oak, MI Judith Stothoff, Remington, NJ Carol Strober, New York, NY Ann C. Strub, New Orleans, LA Roy K. Stuart, Angola,IN Mrs. Ruth H. Stuart, Orlando, FL Susan J. Sutherland, New York, NY Susan Swan, New York, NY M. Szczeniowski, New York, NY Etsuko Takahashi, Yokohama, Japan Richard L. Tax, M.D., Huntingdon Valley, PA John E Taylor, Pacific Palisades, CA Christina Thurnheer, Bassersdorf, Switzerland Edward I. Tishelman, New York, NY Susie Russell Tompkins, San Francisco, CA Dr. Michael Turkewitz, New York, NY Mrs. J.A. Troutman, Charlotte, NC Grace T. Turner, Plantation, FL Mrs. T.A. limner, Jr., Jackson, MS John R. iliska, Lexington, KY Rebecca E. Underwood, New York, NY Patricia Unsworth, Hamilton, Ontario Canada Sharon Valiant, New York, NY Margaret L. Vose, Mansfield Center, CT Joan Wagner, Flushing, NY Dr. Maude S. Wahlman, Orlando, FL Gail Wallack, Annandale, NJ Emily Ward, Reston, VA Susan Warf, New York, NY Patricia Weisberg, New York, NY David R. West, Eunice, LA Margaret L. Wilburn, Apple Valley, CA Barry S. Wildstein, Philadelphia, PA Norma Williamson, Seminole, FL Lanford Wilson, Sag Harbor, NY Dr. Eve K. Winer, Flushing, NY Teresa Wolf, New York, NY Barbara Wolf, Goshen,IN Susan Wolfe, Sylmar, CA Dennis Wong, New York, NY Ann Z. Wrenn, Briarcliff, NY Richard M. Wright, Schnecksville, PA Elizabeth M. Wright, Phoenix, MD Donna Wyatt, Arlington, MA Dana E Wyles, New York, NY Mr. William K. Young, Fort Worth, TX Patricia Nigro Zoli, Glens Falls, NY 95
Lightkeeper's House #18 by Sylvia Alberts Š 1988 Oil on canvas 36"x 40"
JAY JOHNSON
America's Folk Heritage Gallery 1044 Madison Avenue,N.Y., N.Y. 10021
Tues:Sun. 11-6 Closed Mon. 628-7280
JAY JOHNSON RUBENS TELFS
INDEX TO ADVERTISERS
American Hurrah 6,7,8,9 American Festival Cafe 75 American Foundation for the Blind, Inc. 82 American Portfolio 88 American Primitive Gallery 13 Ames Gallery of American Folk Art 20 Marna Anderson 28 Antique Houses/Ann Wilson 75 Authentic Designs 73 Battered Brush 71 20 Ruth Bigel Antiques Calico Rose Collections, Inc. 75 Robert Cargo Folk Art Gallery 73 Cherishables Antiques 29 Christie's 35 76 George Ciscle Gallery Leslie Eisenberg Folk Art Gallery 65 Epstein/Powell 76 Laura Fisher 65 Janet Fleisher Gallery 15 Pie Galinat 74
96
Gasperi Folk Art Gallery 18 Sidney Gecker American Folk Art 71 Gilley's Gallery 28 The Grass Roots Gallery 33 Greenfield & Morgan 73 Phyllis Haders 69 Hayes Antiques 69 Hedgerow House 71 17 Herrup & Wolfner John C. Hill 71 Hirschl & Adler Folk Inside Back Cover Stephen Huneck 89 Jay Johnson 96 Kelter-Malce Inside Front Cover R.E. Kinnaman/B.A. Ramaekers 5 T.P. Langan American Folk Art Gallery 67 Liberty Tree 85 Main Street Antiques and Art 67 Cate Mandigo 93 Ken & Ida Manko 3 Frank Maresca/Roger Ricco 27 The Mayflower Hotel/Conservatory Restaurant 81
Steve Miller 1 Mongerson Wunderlich Galleries 19,31 Nantucket Needleworks,Inc. 88 Outside-In 30 Lynda D. Peters 2 The Quilt Gallery 29 Quilts of America 21 Rising Star Gallery 34 Roslyn House 34 Stella Rubin 18 John Keith Russell Antiques, Inc. Back Cover Sale of Hats 73 David A. Schorsch 22 Sotheby's 14 74 South Bay Auctions Sweet Nellie 81 The Tartt Gallery 4 Peter Tillou Fine Art 16 Udell Antiques 12 University Press of New England 69 Thos. K. Woodard 10
The Clarion
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