RICCO/MARESCA GALLERY 529 West 20th Street Third Floor New York New York 10011 Tel 212.627.4819 Fax 212.627.5117 E-Mail info@riccomaresca.com www.riccomaresca.com
STEVE MILLER • AMERICAN FOLK ART •
AN EXPLOSIVE HORSE Running with an explosive force,this late 19th to early 20th century weathervane must have been an impressive sight on a farm in western Massachusetts. 50"in length x 36"in height,it is made of sheet iron construction in its original mustard paint by an unknown artist. A tour de force of its genre. Provence:
Illustrated:
Edmund Fuller, New York James Kronen Gallery, New York Kennedy Galleries, New York The Kennedy Quarterly, volume XVI,number one, pages 16,57 illustrated.
17 East 96th Street, New York, New York 10128 Telephone:(212)348-5219, Fax:(212)427-4278, E-mail: sharksm@earthlink.net Gallery hours are from 1:00 pm until 6:00 pm,Tuesday through Saturday. Other hours are available by appointment.
ANNA ZEMANKOVA
Untitled, c. 1968, Pastel, ink,crayon/paper, 27.5" x 20"
CAVIN-MORRIS GALLERY 560 Broadway, Suite 405B New York, NY 10012 (212)226-3768
fx (212)226-0155
e: Mysteries@aol.com
www.Cavinmorris.com
JAMES CASTLE 1900-1977
3 4" Untitled (interior with piano and 3 figures), n.d. 5" x 6/
J CRIST GALLERY AND ART SERVICES
The Belgravia Building 465 West Main Street Boise, Idaho 83702 Phone 208 336 2671 Fax 336 5615 Electronic Mail art@jcrist.com
J Crist is the agent for the work of James Castle(A.C. Wade Castle Collection, L.P.)
WALTERS BENISEK ART Ea. ANTIQUES ONE AMBER LANE • NORTHAMPTON • MASSACHUSETTS • 01060 • • ( 4 1 3) 58 6 • 3 90 9 • • DON WA LTERS • MARY BENISEK
FOLK ART VOLUME 26, NUMBER 2/ SUMMER 2001
FEATUR
AMERICAN
0 II MUSEUM
ES
THE MUSEUM AT FORTY:FOUR DECADES OF ACHIEVEMENT Gerard C. Wertkin
42
AN AMERICAN BIRTHDAY CARD: OLD GLORY IN FOLK ART
52
ESSAYS FROM THE CLARION AND FOLK ART: FALL 1975 THROUGH SUMMER 2001: A SUBJECT INDEX Compiled by Alissa L. Bouler
59
Cover: Detail of FLAG GATE; see page 53 Folk Art is published four times a year by the American Folk Art Museum,administrative offices at 555 West 57th Street, New York, NY 10019-2925, Tel. 212/9777170, Fax 212/977-8134. Prior to Fall 1992, Volume 17, Number 3, Folk Art was published as The Clarion. Annual subscription rate for members is included in membership dues. Copies are mailed to all members. Single copy $6.00. Published and copyright 2001 by the American Folk Art Museum,555 West 57th Street, New York, NY 10019-2925. The cover and contents of Folk Art 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 American Folk Art Museum. Unsolicited manuscripts or photographs should be accompanied by return postage. Folk Art 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: Folk Art endeavors to accept 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 of objects or quality of services 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 of folk art and 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 Folk Art that illustrate or describe objects that have been exhibited at the Museum within one year of placing an advertisement.
DEPARTMENTS
EDITOR'S COLUMN
6
DIRECTOR'S LETTER
15
NEW BUILDING UPDATE
18
MUSEUM'S NEW NAME
21
MINIATURES
24
THE AMERICAN ANTIQUES SHOW BENEFIT
29
LINCOLN SQUARE GALLERY AND SHOP RENOVATION
31
SEPTEMBER PREVIEW PARTY
33
TRUSTEES/DONORS
82
MUSEUM REPRODUCTIONS PROGRAM
95
MUSEUM NEWS
96
TRAVELING EXHIBITIONS
101
SUMMER PROGRAMS
102
INDEX TO ADVERTISERS
104
SUMMER 2001 FOLK ART 5
EDITOR'S
COLUMN
ROSEMARY GABRIEL
une 2001 marks the Museum's fortieth birthday, and we are celebrating with a new building, a new name, and a new identity—see pages 18, 19, and 21. In 1981, when the Museum was just twenty years old, Gerard C. Werticin, wrote "The Museum at Twenty: Challenges and Perspectives." After twenty more years of working to help the Museum reach its goals and realize its mission, and after seeing the Museum through many challenges and triumphs, Wertldn, director since 1992, now writes "The Museum at Forty: Four Decades of Achievement." His deeply thoughtful and very illuminating essay begins on page 42. When looking back at the Museum's history, it is striking to see how many writers have contributed to this magazine over the years. I'm sure my predecessors would want to join me in applauding all of them for sharing their research, scholarship, and passion with us through the more than 370 essays written for The Clarion and Folk Art since Adele Earnest's "The Hunt for the Decoy" was published in 1975. Our editorial assistant, Alissa L. Bouler, has created a 14page index of these essays, organized by subject; see page 59. We sincerely hope that this index will be a helpful tool for researchers, collectors, and folk art enthusiasts for many years to come. Because the Museum's birthday comes at the end of June and the nation's at the beginning of July—and just for the fun of it—we also bring you a pictorial essay on the American flag in folk art. This is especially fitting because the very first object in the Museum's permanent collection was Flag Gate, a wonderful painted wooden gate made by an unknown artist around 1876 and given to the Museum by Herbert Waide 2— "Bert" Hemphill Jr. in 1962. FLAG QUILT / Mary C. Baxter / Kearny, New Jersey / 1898-1910 Cotton with cotton embroidery thread / 773 The images for this red, white, / 4 783 / 4"/ American Folk Art Museum, gift of the Amicus Foundation Inc., Anne and blue cavalcade—starting on Baxter Klee, and Museum Trustees, 1985.15.1 page 52—come from the Museum's permanent collection and the collection of graphic designer Kit Hinrichs. We're doing a lot of looking back before we make our final leap forward into our new building and inaugural exhibitions and public programs. Although the Eva and Morris Feld Gallery at Lincoln Square will be closed for about a month for renovation (see page 31), we will reopen in mid-September with a wonderful exhibition of winning quilts from the Museum's contest "Quilted Constructions: The Spirit of Design." The quilts will be featured in the next issue of Folk Art, along with news about the many exciting events that will surround the opening of our new building in December. Have a wonderfully balmy and relaxing summer; I'll see you in September.
J
"te.ia-f7 .14,7 6 SUMMER 2001 FOLK ART
FOLK ART Rosemary Gabriel Editor and Publisher Tanya Heinrich Associate Editor Sarah 3. Munt Production Editor Benjamin J. Boyington Copy Editor Alissa L. Bonier Editorial Assistant Jeffrey Kibler, The Magazine Group,Inc. Design John Hood Advertising Sales Mel Novatt Advertising Sales Craftsmen Litho Printers AMERICAN FOLK ART MUSEUM Administration Gerald C. Wertkin Director Susan Conlan Assistant to the Director Riccardo Salmona Deputy Director Jane A. McIntosh Assistant Director ofthe Capital Campaign Stephen N. Roache ChiefFinancial Officer Irene Kreny Accountant Madhulcar Balsam Assistant Controller Robert J. Saracena Facilities Manager Daniel Rodriguez Mailroom Beverly McCarthy Mail Order/Reception Collections & Exhibitions Stacy C. Hollander Senior Curator and Director ofExhibitions Brooke Davis Anderson Director and Curator of The Contemporary Center J. Scott Ogden Virginia Cave Intern Ann-Marie Reilly Registrar Judith Gluck Steinberg Assistant Registrar/ Coordinator of Traveling Exhibitions Sue McGuire Assistant Registrar Dale Gregory Gallery Manager Misty Das Assistant Gallery Manager Kenneth R. Bing Security Gina Bianco Consulting Conservator Elizabeth V. Warren Consulting Curator Howard Lanser Consulting Exhibition Designer Education Diana Schlesinger Director ofEducation Lee Kogan Director, Folk Art Institute/Curator ofSpecial Projects for The Contemporary Center Dr. Marilynn Karp Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman Coordinator, New York University Program Departments Cheryl Aldridge Director ofDevelopment Diana DeJesus-Medina Director ofCorporate Development Gina Talocco Development Associate Beth Bergin Membership Director Suzannah Schatt Membership Associate Danelsi De La Cruz Membership Assistant Wendy Barreto Membership Clerk Susan Flamm Public Relations Director Monique A. Brizz-Walker Director ofSpecial Events Katie Hush Special Events Coordinator Alice J. Hoffman Director ofLicensing Marie S. DiManno Director ofMuseum Shops Janey Fire Director ofPhotographic Services Eugene P. Sheehy Volunteer Librarian Rita Keckeissen Volunteer Librarian Katya Ullman Library Assistant Edith C. Wise Consulting Librarian Museum Shop Staff Managers: Dorothy Gargiulo, Caroline Hohenrath, Rita Pollitt, Suzanne Sypulski, Marion Whitley; Security: Bienvenido Medina; Volunteers: Marie Anderson, Olive Bates, Angela Clair, Sally Frank, Millie Gladstone, Nancy Mayer, Judy Rich, Frances Rojack, Phyllis Selnick, Lola Silvergleid, Maxine Spiegel American Folk Art Museum Book and Gift Shop Two Lincoln Square(Columbus Avenue between 65th and 66th Streets) New York, NY 10023-6214 212/595-9533 ext. 26 Administrative Offices American Folk Art Museum 555 West 57th Street, New York,NY 10019-2925 212/977-7170, Fax 212/977-8134, http://www.folkartmuseum.org info@folkartmuseum.org
Charles C. Hofmann (1821-1882)
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view of the Schuylkill County Almshouse property, PA Oil on canvas. 31 x 43 inches. Signed and dated 1875.
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E HOPE ANTIQUES, INC_
Patrick Bell! Edwin Hild P.O. Box 718, New Hope, PA 18938-0718 By Appointment 215-297-0200 fax: 215-297-0300 e-mail: info@oldehope.com www.oldehope.com
Exceptional Portrait of a Young Girl by Wm. M.PRIOR c.1840 / Oil on academy board / 10" x 14" / Published in A Laying Likeness, p.35
DAVID IVHEATCROFT Antiques 220 East Main Street, Westborough, Massachusetts 01581 (508) 366-1723
FROM OUR COLLECTION OF 19TH CENTURY AMERICAN WEATHERVANES Martin and Kitty Jacobs • South Egremont • Massachusetts•(413) 528-5755
248. 540.9288
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MI 407 WEST BROWN STREET BIRMINGHAM, MICHIGAN 48009
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4) place
de Phomme de fer - F- 47000 5trasboure
Tel:0033/03 88 23 40 '14
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ALLAN KATZ Americana
"Union" Unique one gallon cobalt blue slip cup decorated wide mouth crock. Ca. 1865
Allan & Penny Katz • By Appointment 25 Old Still Road • Woodbridge, CT 06525 • (203) 393-9356
Exhibiting: Two Rivers Antique Show: June 1 Midweek in Manchester Antiqu August 8-9 2001
Dome Top Valuables Chest Japanned background and yellow pin-striped borders. Top and front of chest decorated with tole-type floral decoration. Signed on bottom, Asa Bather, Allentown. Lehigh County, PA. Circa 1830. Dimensions: Height 8 inches, Depth 9 inches, Width 14 inches. View this chest in full color at antiques101.com. Thurston Nichols American Antiques 522 Twin Ponds Rd, Breinigsville, PA 18031 phone: 610.395.5154 fax: 610.395.3679 email: thurston@fastnet www.antiques101.co
22 SUMMER 2001 FOLK ART
Andrew Flamm & Michelle Hauser
ODD FELLOWS ANTIQUES
American hooked rug on homespun linen foundation, mid-19th century. 39" x 45"
Route 41 Mount Vernon, Maine •(207) 293-3569 P.O. Box 145, Mount Vernon, ME 04352
"Another World" exhibition at ArtSpace/Virginia Miller Galleries
"He is that rarest of birds, the highly sophisticated naive... there is authentic courage and conviction in his work..." Michael D. Hall "Lamb renders the comedy oflife with a general sense ofits absurdity. He is ...an outsider with insight." Donald Kuspit REPRESENTED BY
ARTS PACE Virginia Miller Galleries 169 Madeira Avenue, Coral Gables (Miami), Florida 33134 Tel. 305-444-4493 www.virginiamillercom
Fax 305-444-9844 vmgalleries@hotrnail.com
DIRECTOR'S
LETTER
GERARD C. WERTIUN
e have reached a period of dramatic growth and change at the American Folk Art Museum. By the time this issue of Folk Art reaches you, we will only be three months away from the completion of our long-awaited building at 45 West 53rd Street in Manhattan and within six months of its grand opening to the public. It is an exhilarating moment for all of us. I know that I speak for the Museum's officers, trustees, and staff when I tell you how eagerly we await the pleasure of welcoming you to our new home. As critically important as the new building is to the future of the Museum,other recent developments have been no less significant. As readers of Folk Art know,the Museum's permanent collection has been wonderfully augmented in recent years by the addition of truly great works of art that speak to the broad diversity of the Museum's mission. In combination with the masterworks that have distinguished the collection since 1962, when Herbert W.Hemphill Jr. gave the now famous Flag Gate to the Museum,these works— when they are installed later this year—will surprise, delight, and inspire old friends and newcomers alike. Much of the Museum's inaugural year on 53rd Street will be devoted to showcasing the permanent collection and highlighting recent accessions. This promises not only a succession of visual treats for visitors, but also a remarkable journey through time, culture, and a fascinating terrain of Cornelia Hamilton, 1989 artistic creativity. I am tempted to tell you more, but for now I will simply urge you to watch your mail for the invitations to the exciting opening events. And if you are not a Museum member,this would certainly be the right time to come aboard. You will want to be included in the inaugural festivities and to enjoy privileged access to the Museum's new galleries and educational facilities. Please use the membership form in this issue of Folk Art to join now. As we come nearer to completing our capital campaign, each day brings more encouraging news from the Museum's deputy director, Riccardo Salmona, who heads the campaign, and Jane A. McIntosh, the campaign's assistant director. Recent, very generous grants from the Booth Ferris Foundation, The Brown Foundation of Houston, and Philip Morris Companies Inc. have helped us reach an impressive total of $29.2 million as of this writing, against a goal of $34.5 million. My gratitude to the many thoughtful contributors who have participated in the campaign is unbounded. For a complete list of donors, please see page 82. We're almost there, but we will need the help of each member and friend to fully succeed. Although the attention of the Museum family has been focused on these momentous developments, this is also a time for looking back. On June 23, 2001, the Museum will celebrate its fortieth anniversary. Indeed, all the good news that I have shared with you in this column
may be seen as the realization of the goals of the institution's founders four decades ago, and the hopes of its supporters over the years that followed. This was brought home to me recently when Trustee Emerita Cordelia Hamilton, the only surviving founder of the Museum, attended a board meeting; it was moving to hear her reflections on the progress of the institution since 1961 and her expression of pleasure at the maintenance of its core values even at a time of such marked growth and development. This issue of Folk Art celebrates the Museum's forty years of service to the public. One of the great strengths of the Museum's leadership is the ability to call upon the wisdom of dedicated and loyal Trustees of many years' standing and the fresh ideas and invigorating spirit of newly elected Trustees. I am pleased to announce the election of two new board members,Paul Caan of Greenwich, Connecticut, and J. Randall Plummer of Fort Washington, Pennsylvania. Caan is a managing director of Credit Suisse First Boston, where he has worked since 1992. Previously, he had been a financial consultant with Merrill Lynch. He also has served as an active member of the Museum's Advisory Council. Plummer, chairman of Pars Manufacturing Company in Ambler, Pennsylvania, has served as an adjunct professor of art history at Temple University. A member of numerous boards and committees,Plummer is also a trustee of the International Museum of Photography at George Eastman House in Rochester, New York, and a member of the advisory board of the Institute of Contemporary Art in Philadelphia. It is a privilege for me to welcome both of these good friends to board service. The professional staff of the Museum is also growing to keep pace with institutional needs and challenges. Diana DeJesus-Medina has been appointed director of corporate development, a new position. She previously served as manager of corporations and foundations for the New York City Board of Education and director of development for the YWCA in Brooklyn. Also new to the Museum's fund-raising effort is Gina Talocco, formerly of the Liberty Science Center, who is now development associate. Signaling the imminent completion and occupancy of our new building, Robert Saracena has joined the staff as director of facilities. Until recently he held that position at Manhattan's Museum of Television and Radio. Monique A. Brizz-Walker comes to the Museum from the NAACP Legal Defense and Educational Fund, Inc., where she was in charge of all fund-raising events. Having previously served as special events associate at the Brooklyn Museum of Art, Brizz-Walker is our newly appointed director of special events. Working closely with her is Katie Hush, special events coordinator, who formerly worked with the American Craft Museum. Although this group of talented professionals is new to the staff, they are already proving themselves indispensable through their significant contributions to the life of the Museum. This is surely a time of celebration and thanksgiving.*
SUMMER 2001 FOLK ART 18
CHRISTIE'S
ATTRIBUTED TO THOMAS CHAMBERS (1806-Circa 1866)
The Constitution and the Guerierre one of a pair of paintings 25'14x 35'h in. (sight)
ESTIMATE $18,000 -22,CX30(for the pair)
American Furniture, Folk Art, and Decorative Arts Auction June 18
Inquiries 212 606 0561
Viewing June 14-17
Catalogues 800 395 6300
Christie's East 219 East 67th Street New York, New York 10021 www.christies.com
American Folk Art Sidney Gecker
PORTRAIT OF JANE ANTOINETTE ROOSEVELT DUFF1E (1801-1889) ATTRIBlUTED TO MICAH WILLIAMS PASTEL ON PAPER 35% x26 INCHES A DAUGHTER OF JOHN AND MARIA (ROOSEVELT)DUFFIE. JANE ANTOINF,TTE'S BIRTH MERGED ONE OF THE MOST PROMINENT DUTCH FAMILIES TO ARRIVE AT NEW AMSTERDAM, WHOSE DESCENDANTS PRODUCED TWO PRESIDENTS. IN FINE CONSERVED CONDITION AND IN THE ORIGINAL FRAME.
226 West 21st Street New York, N.Y. 10011 •(212)929-8769 Appointment Suggested Subject to prior sale.
s summer arrives in New York City, the countdown to the December opening of the Museum's new space on 53rd Street begins in earnest. April and May brought the completion of several important milestones for the project, including the installation of the elevator. The Pavarini construction crew concentrated on finishing the stonework and building the niches and casework that will hold the icons of the Museum's permanent collection. Superintendent James Augustyn, Project Manager Dorothea Sepulveda, and Project Superintendent Chris Steinmann are regularly on hand to supervise the work in progress, and they report that we are coming along splendidly. If you walk by the West 53rd Street site, you will be in for a treat.
A
13 SUMMER 2001 FOLK ART
James Augustyn
Dorothea Sepulveda
SL INiNIER 2001 11.1 II .1.: %IR I. 1
ROBERT YOUNG ANTIQUES
HANDSOME PAIR OF NAIVE OWLS CARVED SANDSTONE ENGLISH C1870
68
BATTERSEA
BRIDGE ROAD, LONDON SW1 1 .3AG, ENGLAND
+44 20 7228 7847
FAX
+44 20 7585 0489
OFFICE@ROBERTYOUNGANTIQUES.COM
ANNOUNCEMENT
American Folk Art Museum
Available in August: brand-n4 Museum logo merchandise now available to our members! Be the first to show your support with our new Museum T-shirts, mugs, and baseball caps.
AMERICAN T-shirts 100% cotton, medium, large, and extra large, available in black or white with orange-and-red motifs and red Museum logc on back; $18($16.20 for members)
73 MUSEUM
he year 2001 marks the 40th anniversary of the American Folk Art Museum— a birthday celebrating new beginnings as the Museum eagerly awaits the opening of its new building at 45 West 53rd Street in Manhattan on Dec. 11,2001. In anticipation of its major expansion, and to underscore a spirit of dynamic growth, the Museum is changing its name. The new name—American Folk Art Museum—"is a subtle but significant difference," says Gerard C. Wertkin, director. "It emphasizes the American experience within a global mission and reflects the institution's increasingly broadened outlook. The
T
word 'American' in the Museum's new name functions as an indication of the institution's location, emphasis, and principal patronage rather than as a limitation on the kinds of art that it collects, interprets, or presents." Through its new name,the American Folk Art Museum expresses a broader mission that has already been made manifest in a series of exhibitions over the past several years. Recognizing that American folk art can be more fully understood within an international context, the Museum has presented exhibitions on the folk arts of Latin America and Europe. Known at its founding as the Museum of Early American Folk
Arts, the Museum was then concerned principally with the vernacular arts of 18th- and 19thcentury America, especially the Northeast. The institution adopted a simpler but more inclusive name,the Museum of American Folk Art, in 1966. Under this name, it established a reputation for wide-ranging exhibitions and programs that examined virtually every aspect of the folk arts in America—North,South, East, and West—including the work of 20th-century self-taught artists, whether traditional or idiosyncratic in nature. As we move forward through the 21st century, this American museum offers a home to the folk arts of the entire world.
Caps Cotton with adjustable tab closure, one size fits all, available in black with red logo and New York embroidered in red on back; $19 ($17.10 for members)
Mugs As shown, 11 oz., microwave safe; $10($9 for members) For mail-order information, call the Museum at 212/977-7170, between 9:30 AM and 5:30 PM
SUMMER 2001 FOLK ART 21
TRACY GOODNOW ART
IS
ANTIQUES loral Hooked Rug, Waldoboro, Maine, ca. 1880, 24 1 4"h x 53 1 2"
576 SHEFFIELD PLAIN ROAD (ROUTE 7) PO Box 1340 SHEFFIELD MA 01257 / TEL 413.229.6045
•Let It Shine: Self-Taught Art from the T. Marshall Hahn Collection JUNE 23-SEPTEMBER 2, 2001 The High Museum of Art Atlanta, Georgia Tuesday-Saturday, 10:00 am to 5:00 pm Sunday, noon to 5:00 pm The exhibition will feature over 80 works from the High Museum of Art's Hahn Collection. Paintings, sculptures, and drawings by Thornton Dial, Howard Finster, William Hawkins, Bill Traylor, Nellie Mae Rowe, and many others will be included. Let It Shine: Self-Taught Art from the T Marshall Hahn Collection is organized by the High Museum of Art. Generous support has been provided by Georgia-Pacific Corporation. Additional support has been provided by SunTrust. On view at our High Museum of Art Folk Art and Photography Galleries downtown is New Treasures, Old Favorites: American SelfTaught Art from the High, May 12, 2001—April 13, 2002.
For more information call 404-733-HIGH HIGH Mattie Lou O'Kelley, Georgia Farm, 1991,1. Marshall Hahn Collection.
22 SUMMER 2001 FOLK ART
museum
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JACKIE RADWIN American painted furniture, quilts and folk art
Nineteenth Century Full-Bodied Weathervane. Wonderful Weathered Surface. 28" long.
5405 Broadway • San Antonio, Texas 78209•(210) 824-7711
MINIATURES
COMPILED BY ALISSA L. BOULER
The Hurst Collection Moves to Deerfield
Folk Art Society Conference
Historical Deerfield (413/7757166) has acquired the Hurst Collection of American Furniture, which includes 16 pieces of 18th- and 19th-century furniture collected in the 1930s but never before available for public viewing, as a permanent installation in its Wright House. The exhibition features New England—made items purchased from Willoughby Farr, a dealer from Edgewater, N.J. Highlights include a cherry and white-pine chest on chest made by Elisha DeWolf and a large bedstead made in Boston in the late eighteenth century.
The Folk Art Society of America (800/527-3655) will present its 14th annual conference in Richmond, Virginia,from Oct. 11 to 14. The symposium "African American Folk Art" will be held at the George M. Modlin Center for the Arts, University of Richmond, and accompanied by exhibitions, tours of private folk and contemporary art collections, and a benefit auction.
Hahn Collection at the High "Let it Shine: Self-Taught Art from the T. Marshall Hahn Collection," featuring approximately 100 objects from that impressive
CHEST ON CHEST Elisha DeWoH Jr. Ashfield, Mass. 1800-1810 Cherry, white pine 78 40/ 3 4 20/ 1 2 " The Hurst Collection of American Furniture
Museum assortment of paintings, drawings, and sculpture from some of the best-known self-taught artists of the 20th century, will be on view at Atlanta's High Museum of Art (404/733-4437)from June 23 to Sept. 2. Artists include Nellie Mae Rowe,Bill Traylor, Sam Doyle, Thornton Dial, and Howard Finster. This exhibition provides a welcome opportunity for the public to view the best in contemporary folk art. A catalog will be available. MATTIE IN THE MORNING GLORIES Mattie Lou O'Kelley Southern United States 1992 Oil on canvas 391 / 4 273/c" T. Marshall Hahn Collection, High Museum of Art
24 SUMMER 2001 FOLK ART
'frx Folk Art Society ol America Verret.
,01•••••
Quilts of Every Size in San Jose This summer,the Museum of Quilts and Textiles in San Jose, Calif.(408/971-0323), will feature two exhibitions focusing on issues of size and scale in quilting: "Fine Focus," a traveling exhibition of small quilts, and "Wide Angle." Most quilts are large enough to cover a bed, but "Fine Focus" explores the artistry of quilting pieces that are very small and explicitly artistic rather than functional. Small quilts demand a different level of complexity and present a challenge to the quiltmaker—a challenge deftly taken up by the 50 quilt artists whose
works are collected in "Fine Focus.""Wide Angle" presents a collection oflarge quilts made from many small pieces, and a variation on the theme of scale. This exhibition explores the relationship between the individual squares, which seem abstract at close viewing, and the yisual impact of the entire work, which forms a cohesive whole and displays a distinct pattern or form. This pair of exhibitions presents an exciting opportunity to witness and discuss the importance and aesthetic implications of scale in quiltmaking.
Baltimore Album Quilts The Maryland Historical Society in Baltimore (410/685-3750) presents "Baltimore Album Quilts" from June 16 to Sept. 9. The quilts, all created in the mid-19th century and made of cloth squares stitched together in a grid to make a pattern, have rarely been available for public viewing. They were often given as wedding presents, to retiring church ministers, or to commem-
orate other rites of passage. Not only examples of beautiful needlework, these textiles also serve as a historical record—the quiltmakers often wrote personal messages on the squares they pieced together—and represent the preoccupation with gentility among members of the predominantly Methodist Baltimore middle class.
ASAFO FLAG Artist unknown Ghana c. 1960 Cotton applique 5'2" x 3'8" The Textile Museum, gift of Mary Hunt Kahlenberg and Robert T. Coffland
MANHATTAN ART & ANTIQUES CENTER The Nation's Largest and Finest Antiques Center. Over 100 galleries offering Period Furniture, Jewelry, Paintings, Silver, Americana, Orientalia, Africana and other Objets d'Art.
1050 SECOND AVENUE (55TH ST.) NYC 10022 Tel: 212-355-4400 • Fax: 212-355-4403 www.the-maac.com • Email: info@the-maac.com
, t Flags from Ghana at Textile Museum "Fighting Words," an exhibition of war flags from Ghana, will be on view at the Textile Museum in Washington, D.C.,(202/6670441)through Aug. 12. The Akan people of Ghana have been making cotton flags decorated with representations of popular proverbs for hundreds of years. The flags are associated with Asafo, the military institutions of the Akan states, which now serve primarily as fraternal organiza-
tions. Some proverbs illustrated, express familiar concepts:"You may also fall into the pit which you dig for your fellow man," while others represent more esoteric sayings understood only by the Akan people themselves. The exhibition is instructive in many ways, displaying colorful and unusual forms of needlework while providing a rare glimpse into a rich and varied culture.
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recognition of acts of bravery in war, holding the wearer to a code of honorable conduct. The approximately 40 shirts on display were meticulously sewn with sinew drawn through holes punched by an awl and decorated with materials ranging from porcupine quills to hair.
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"For All to See," a collection of Plains Indian shirts from the past 170 years, will be presented at the Minneapolis Institute of Arts (612/870-3171)from Aug.4 to Oct. 14. Adorned with different symbols and decorations, these shirts were never worn in actual battle, but rather were awarded in
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Decoys of Long Island "The Bayman's Art: Wildfowl Decoys of Long Island" opens June 17 at the Museums at Stony Brook (516/751-0066). This new permanent exhibition features the museum's excellent collection of wildfowl decoys in a simulated wetlands environment and highlights developments in social and environmental history. A salt-marsh diorama, an authentic North Shore duck boat, and a recreated bayman's workshop all help visitors understand the connection between the artistry of the decoys and the environment from which the artists drew inspira-
tion. Of course, over time decoys have evolved from functional tools to prized works of art, and this exhibition illustrates this gradual transformation and the associated changes in the lives of baymen and the ecology of Long Island's North Shore.
11/1••Inv 'Er INF ,
—
EXTRAORDINARY "SAILOR'S REMEMBRANCE" QUILT, pieced and appliquéd; rare and unique, with mariner's compasses, world flags, flowers, hearts and the four seasons.
LAURA FISHER ANTIQUE QUILTS & AMERICANA Gallery #84
Tel 212.838.2596
(LAURA FISHER - hours: Monday - Saturday 11AM 6PM)
HERRING GULL DECOY Artist unknown Bayshore, 1.1., New York C. 1920 Painted wood 20½>< 13< 53/." The Long Island Museum
New York City's largest most exciting selection of Antique Quilts Hooked Rugs Coverlets, Paisley Shawls Beacon Blankets Vintage Accessories and American Folk Art
SUMMER 2001 FOLK ART 25
MINIATURES EXPLORE SELF-TAUGHT ART IN THE AMERICA
Let It Shine 41111111140-40
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4 PRINTED BIRTH AND BAPTISMAL RECORD (GEBURTS UND TAUFSCHEINI / Benjamin Grimier / Lancaster County, Pennsylvania /c.1808 fink on paper / 13 x 16"/ Heritage Center Museum of Lancaster County, gift of Daniel S. Kauffman
Pennsylvania Heritage Exhibition The Heritage Center Museum of Lancaster County (717/2996440) presents "Pennsylvania Germans," an exhibition of Pennsylvania German arts, culture, and history. More than 100 objects on display, many newly acquired by the museum,tell the story of a people and their settlement in America from the 17th
Mattie Lou O'Kelley, Georgia Farm (detail), 1991, T. Marshall Hahn Collection.
through the 19th centuries. Focusing on the disparities within the Pennsylvania German community, the show explores the lives of the most conservative of these communities, as well as those who have been almost completely assimilated into mainstream American society.
LETTER TO THE EDITOR An Exchange of Views
Friday, August 17, 2001, 9:30 am to 4:00 pm The High Museum of Art, Hill Auditorium Atlanta, Georgia Inspired by the T. Marshall Hahn Collection, the High presents folk art curators, scholars, collectors, and artists in an exploration of A Golden Era of Self-Taught Art. The day's events include formal presentations, a panel discussion, a tour of the Hahn Collection, and a casual lunch. Museum members $50, General public $70 Call 404-733-4468 for more information and to register. Let It Shine: Self-Taught Art from the T Marshall Hahn Collection is organized by the High Museum of Art. Generous support has been provided by GeorgiaPacific Corporation. Additional support has been provided by SunTrust. On view at our High Museum of Art Folk Art and Photography Galleries downtown is New Treasures, Old Favorites: American Self-Taught Art from the High, May 12, 2001—April 13, 2002.
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26 SUMMER 2001 FOLK ART
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In the past I have read articles written by Jenifer P. Borum and have loved her insight and fresh voice in this field so cluttered with lack of scholarship. With that said I feel I must address an issue in her most recently published article in the Winter 2000/2001 magazine,"The Artists' Artists." Although some comparisons she makes about artists and their sources seem right on, Ms. Bon= has unfairly categorized Jim Nutt as an imitator of the work of Martin Ramirez. This could not be further from the truth. Mr. Nutt's work already contained the proscenium format when he encountered the drawings of Martin Ramirez. I assume that was the reference that she is making, as there is no other simi-
larity. Jim Nutt has done more than any artist I know to address the issue of marginalization of self-taught artists. He spent years of his own career protecting Ramirez's work and was diligent in his efforts to gain recognition for Joseph Yoakum and Martin Ramirez, as well as others, not as "outsiders" but as contemporaries. He believed and supported the idea that it was the work and not the academic credentials that made an artist worthy of recognition. To imply that Nutt imitated Ramirez indicates that Ms. Borum does not know the progression of his work. To further imply that he is guilty of concealing sources of inspiration from others is patently absurd. Nothing could be further from the art historical truth. Mr. Nutt has long
been a very vocal champion of the power and genius of both Martin Ramirez and Joseph Yoakum. He had never reinvented himself at their expense and to suggest as much is an firesponsible statement, one that
deserves an apology from Ms. Borum if she expects to have any credibility in the field in which she has chosen to write. John Oilman, Fleisher/Oilman Gallery, Philadelphia
Jenifer Borum Responds: In response to your defense of Jim Nutt,I would first like to say that I sincerely regret my use of the word "imitate" to characterize the influence of Martin Ramirez's work on Nutt's. I have been aware of Nutt's wonderfully clever, well-documented utilization of a proscenium framing device similar to Ramirez's ever since I saw the comparisons of these two artists featured in the exhibition "Parallel Visions: Modern Artists and Outsider Art," presented at the Los Angeles County Museum of Art in 1992. In my article I identified two fundamentally different ways in which trained artists have been influenced by self-taught artists. On the one hand, I cited a mode of formal influence evidenced by the Ramirez—Nutt case and others. On the other hand,through my consideration of the exchanges between Kerry Schuss and Aaron Birnbaum and between Renee Stout and Bessie Harvey,I explored a less obvious mode of influence that does not involve the appropriation of visual sources. I mentioned Nutt's work in passing, as part of a general evaluation of the creative process of appropriation, which involves borrowing formal devices from an original source. Your statements that Nutt's work already contained the proscenium format when he came upon Ramirez's drawings, and that I do not know the progression of Nutt's work are simply incorrect. On page 164 of the Parallel Visions catalog (1992),
Russell Bowman confirms that Nutt discovered Ramirez's work in 1968, and goes on to write: "As to the influence Ramirez has had on his work, Nutt mentioned the geometric patterning he employed at about the same time and particularly the use of architectural segments of proscenium settings that began to emerge in his work in the early 70's." A painting by each of the artists is reproduced to illustrate this point. In a footnote, Bowman cites an interview with the artist himself as the source of his information. Bowman repeats this assertion of page 27 of his essay "Jim Nutt: The Evolution of a Style" in the 1994 monograph Jim Nutt. I did not claim that Nutt literally took advantage of Ramirez or unfairly tried to reinvent himself at Ramirez's expense. I vividly characterized the dynamics of the creative act of appropriation itself, which does indeed involve borrowing elements from a source and reintroducing them in another context without referencing that source. Throughout the twentieth century, trained artists have appropriated imagery from their self-taught counterparts. Paul Klee did it, Jean Dubuffet did it, and Jim Nutt did it. I did not pass judgment on these artists. I drew on my understanding of psychology to articulate an informed and very credible critical opinion of their creative process with the hope of illuminating a vital point of contact between mainstream art history and its margins.
6119
ROUTE
9 • RHINEBECK • NY •
1 2572
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APPOINTMENT • PHONE
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SUMMER 2001 FOLK ART 27
AMERICAN
AARNE ANTON ART & ANTIQUES
PRIMITIVE GALLERY
594 BROADWAY # 205, NEW YORK, NY 10012 (212) 966-1530 Summer Hours MON窶認RI 10 - 6 or by appt.
Over 20 years of discovering remarkable folk art and works by self taught artists. Assisting in the formation of collections of 19th and 20th century art and antiques. Our base making shop has elevated thousands of works of art and antique objects. Custom mounting of weathervanes and folk art available in wood or metal for table or wall.
Childs size sled with graceful horse head ht. 20x 37x 12 inches
Painted wood horsefrom an early child's pull toy ht. 21 x 20 x 6 inches
EIMMEVME=
Contained cotton crazy quilt, circa 1850. Lancaster County, Pennsylvania.
S I ELLA
RUBIN Fine Antique Quilts and Decorative Arts 12300 Glen Road Potomac, MD 20854 (Near Washington, D.C.) By appointment (301) 948-4187
ANNOUNCEMENT
It's The American Antiques Show for 2002
he American Antiques Show,a fresh, new all-American antiques show debuts on Wednesday,Jan. 16, 2002, with a Gala Opening Night Preview Celebration. The show will be open to the public from Thursday, Jan. 17, through Sunday, Jan. 20. The American Folk Art Museum is the beneficiary of proceeds from the sale of tickets for admission and to special events and educational programs that will augment the Show. Managed by Josh Wainwright of Keeling, Wainwright Associates, Inc., the American Antiques Show will be held at the Metropolitan Pavilion, a landmark building located at 125 West 18th Street, between 6th and 7th Avenues,in the heart of Manhattan's dynamic Chelsea area. A select group of the country's most prominent dealers has been invited to participate in the inaugural American Antiques Show. The Show will set the standard for American art and antiques during "Americana Week" in New York City.
T THE AMERICAN ANTIQUES SHOW
January 16, 2002
SUMMER 2001 FOLK ART 29
Ginger Young Gallery
www.GingerYoung.com
Southern Self-Taught Art Ginger Young Gallery by appointment: 5802 Brisbane Drive Chapel Hill, NC 27514 Phone/Fax 919.932.6003 gingerart@aol.com
Please contact us for a free CD catalog of 600 works by 60 artists.
"Five Birds" by Henry Stone, housepaint on cardboard, 20 1/2" x 32", circa 1999.
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We're now much easier to find on the world wide web. Our NEW web address is:
www.gilleysgallery.com
If you have yet to order your copy of
PAINTING BY HEART The Life and
Ad
of Clementine Hunter, Louisiana Folk Adis! by Shelby R. Gilley
you may still do so directly through us via Phone: 225.922.9225 Mail: 8750 Florida Boulevard or Baton Rouge, LA 70815 COTTON PICKING • ca. 1965 • 18" x 24" • Oil on Artist Board
30 SUMMER 2001 FOLK ART
Email:
outsider@eatelinet
ANNOUNCEMENT
Closed for
August
fit
The Museum's Eva and Morris Feld Gallery and Book & Gift Shop at 2 Lincoln Square, Columbus Avenue between 65th and 66th Streets, will be closed from July 23 to September 13 for renovation. We're sorry for this inconvenience. Please come see us in September. Our opening exhibition, Quilted Constructions: The Spirit of Design, features the winning quilts from the Museum's International Quilt Contest. These exquisite contemporary quilts
0
will be shown in the next issue of FOLK ART and will become part of a traveling exhibition sponsored by the Museum. Details of the tour will be announced at a later time. Also on view at the Eva and Morris Feld Gallery will be a model of our new building on 53rd Street, which will be open in December.
()I
chl Expresekons o-C Ikeneeican Se14-To4IT eTisTs
For more information, call the Membership Department after July 16 at
MAY 12 - SEPTEMBER 3
212/977-7170.
HANCOCK
•
SHAKER VILLAGE PITTSFIELD, MA • 800-817-1137 HAN COC K SHAK ERVIL LAGE.0RG
SUMMER 2001 FOLK ART 31
hosea hayden: chairs
see Folk Art Fall 1994 p. 45
j.e. porcelli P.O. BOX 18074
CLEVELAND HEIGHTS
american folk art OHIO 44118
216/932-3270
jeporcelli@en.com
Clockwise from top left: Dwight Mackintosh DM107, One Big Cow
THE
AMES GALLERY
Jon Seel The Spirit Eddie Arning EA15, Horse by Tree and Trough
Dealers in exceptional contemporary self-taught, naive, visionary, and outsider art.
A.G.!Ursa S-1, Mother Symbolically Represented
• We also specialize in early handmade Americana including quilts, carved canes, tramp art and whimseys. • Bonnie Grossman, Director 2661 Cedar Street, Berkeley, California 94708 tel 510/845-4949 fax 510/845-6219 amesgal@home.com
ANNOUNCEMENT
through sneak our gate a or Save the Date tirsd
1
Se tember 20, 2001
American Folk Art Museum 4.5 West 53rd Street New York City
Join us for a special !<, evening in our new building to honor some of those who helped raise the flag over our 53rd Street home.
r
For more information please call 1 212/838-6033.
FLAG GATE Artist unidentified Jefferson County, New York c. 1876 Painted wood with iron and brass 39", . 57 . 3/ 3 4 " American Folk Art Museum, gift of Herbert Weide Hemphill Jr., 1962.1.1
SUMMER 2001 FOLK ART 33
Jake McCord
Pickup Truck,24"x 12"
1986, Oil on canvas
American Pie Contemporary Folk Art Elaine Johansen • 113 Dock Street • Wilmington, NC 28401 (910) 251-2131 • www.americanpieart.com
TYRONE CAMPBELL GALLERY
Antique American Indian Art /Ethnographic and Folk Art 8900 EAST PINNACLE PEAK ROAD / SUITE B2 / SCOTTSDALE, ARIZONA 85255 / PHONE 480-502-8899
Navajo Pictorial with Male and Female Yeibichai, Talking God and Calling God 55" x 25", circa 1920's
34 SUMMER 2001 FOLK ART
AMERICAN FOLK EXTRAORDINARY ART BY ORDINARY PEOPLE
Become a member for FREE tickets. Call NEXT Ticketing at 617-542-4MFA. Children Free!
MUSEUM OF FINE ARTS, BOSTON APRIL
8
THROUGH
AUGUST
5,
2001
Museum of Fine Arts, Boston Avenue of the Arts 465 Huntington Avenue Boston, MA 02115 Open 7 days a week www mfa org This exhibition is sponsored by
BOSTON
#47, Merrill Lynch
The media sponsor is
0
John Green Satterley, Whirligig' Army Signalman (detail), about 1865-70. Painted wood. Gift of Maxim Karolik.
Ra
h Fasanella's America April 1-December 31, 2001 See more than 40 paintings by Ralph Fasanella in this first major retrospective of his work. A fully-illustrated book accompanies the exhibition. Curated by Paul D'Ambrosio
Fenimore Art Museum New York State Historical Association P.O. Box 800, Cooperstown, NY 13326 1 - 888 - 54 7 - 1 450 www.fenimoreartmuseum.o g May Day, 1948, by Ralph Fasanella Ralph Fasanella's America is supported in part by generous grants from The Judith Rothschild Foundation and the New York State Council on the Arts
THE0collection ZEITER for appointment (760) 730-4630 virtual gallery www.zetteroutsider.com
Redbirds in Thunderstorm, tempera on kraft paper, 30 x 37
36 SUMMER 2001 FOLK ART
Self Taught, Visionary, Folk Art Fair Labor Day Weekend August 31-September 2 $5.00 Admission
Opening Night Preview Friday, August 31 6 - 9 pm Live Music Saturday 10-6 and Sunday 10 - 5
JUDITH RACHT GALLERY 13707 Prairie Road Harbert, Michigan 49115 1 hour 10 minutes from Chicago
Portion of admission donated to Berrien County Cancer Foundation and the Stenn Fund for Ovarian Cancer
FOR INFORMATION CALL (616) 469-1080
Main Street gallery 51 N. Main Street (P. 0. E3ox 641) Clayton, Ga. 30525 Ph. 706-782-2440, e-mail: mainst1Orabun.net www.mains-creewaliery.ner,
41"x42"
"Hanging Out"
Purvis Young
Mr. B (Jack Beverland) Dick Moshier Rudolph v. Bostic J. T. McCord Chris Clark Mary Proctor Annis Cochran Sarah Rakes Patrick Davis 0 L. Samuels Kenny Dickerson Jay Schuette Dorethey Gorham Bernice Sims Sybil Gibson Jimmie Lee Sudduth Lonnie Holley Mose Tolliver Mama Johnson Annie Tolliver Eric Legge Derek Webster Chris Lewallen Bettye Williams Woodie Long Kurt Zimmerman
Representing the artists and potters of the deep South and West, including Sharon Johnson Jake Pierre Dorethey Gorham -7,- Bernice Sims Jimmy Sudduth Buddy Snipes Jerry Brown the Hewell Family and many others New works by California artist Frankie Scarborough
Featuring Roger Hicks, the blind potter of North Carolina
Graves Country Gallery and Antiques 15 North Cherokee, Lodi, California 95240 Phone 209.368.5740 â&#x20AC;˘ 209.473.7089 email: graves@gravescountry.com
www.gravescountry.com Fr4hIvie Meet our Artists at Folk Fest 2001
38 St'MINER 2001 FOLK ART
saleiltkk
ArAlqe1.-"Wil
THE MENNELLO MUSEUM OF AMERICAN FOLK ART ,vo MEN NERO MUSE( AI os
OF AMERICAN FOLK ART 900 East Princeton Street •
Orlando Florida
•
407-246-4278 •
Museum Hours: Tuesday—Saturday 11 am-5pm www.mennellomuseum.com
The Mennello Museum is owned and operated by the City of Orlando
•
•
Fax 407-246-4329
Sunday noon-5pm
email-cityoforlandoart@mindspring.com
4"x 26", oil on masonite / Earl Cunningham. Sanctuary, c.1965, 211
Robert Cargo
FOLK ART GALLERY Contemporary Folk Art • Haitian Spirit Flags Southern, Folk, and African-American Quilts
www.cargofolkart.com www.cargofolkart.corn www.cargofolkart.corn www.cargofolkart.corn
2314 Sixth Street, Downtown, Tuscaloosa, Alabama 35401 Home Phone 205 758-8884 • Gallery Phone 205 758-3111 Email: cargofolkart@aol.com • Website: www.cargofolkart.com Open Weekends only and by appointment • Saturday 10 a.m. to 5 p.m. and Sunday 2 to 5 p.m.
LINDSAY GALLERY
HAWKINS
Also: ELIJAH PIERCE LEVENT ISIK. SMOKY BROWN T.E. HAY TIM LEWIS
REED
and LEANNE PAELTZ "The Wolf Lady" contact DUFF LINDSAY 1991 Guilford Rd. Columbus, OH 43221 614-486-1973
and now featuring the Athletic Women of
LEWIS SMITH 1907-1998
ARNING
lindsaygallery.homestead.com
le Museum
al Forty
Four Decades Two decades ago. I contributed a brief
sa) to the
Summer 1981 issue of The Clarion, as this publi:ation w as then called, entitled "The Museum at 20: Challenges and Perspectives.- I had joined the staff the previous )ear as assistant director. serving with :h.: irrepressible Robert Bishop. although m ri•Nots in th: Ihstitution 'ere deeper: at Bishop's invitation. I worked on several Shaker-related projects for the Museum in the late 19•70s and published in) first Clarion essay in 1979. * Now —"fast forw ard-it is 2001, the Museum's fortieth anni‘ersar) ahd a time for
7 -V.:L-1- man))ears of planning. the Museum
is anticipating the opening of a mar cent new building of its own at
53rd Street ::-. Nlanhattan in Decem-
ber 2001: the Museum also has anno.::::ed the :hos: s:gnificant additions to its permanent collection ::-. :he forty years since its founding. As a result, it seemed appro-,Hate
By Gerard C. Wertkin
for me to take a broad. hack w ard once again, especially on the e.‘ of the
:eal-
ization of the very goals that sparked do not intend this :ssa,.. to be a his:L-7\ ::. rather a review of so
of the
forty-year story of trustee Adele Earr.:s: contributed her "11..s:,•:- :f Museum. 1961-1-:- S-..
••A Pictorial Guld:
nent Collection- in the Mid-Summer l
l':•:-.7..1• ss..:
magazine. In the Winter 1989 issue. my coll:aiza: Alice) Hoffman—now the Museum's director of published her co -.prehensive study, -The
of
Museum of Amc.:-.:an Folk Art: An Illustrated Both of these
remain valuable introductions to
the Museum. and I am happy to acknowledge my reliance upon them in the preparation of this essay.
42 q141Fi -Neel FOLK ART
of Achievement gitu•
th 4t4trtrri"rParits, „ Ullik
126%%\'''..;°('tNlin I isioitsei Charter, c,NE Art,* thtataamarmarrah
THE MUSEUM OF EARLY AMERICAN FOLK ARTS
N--, / ./A,
, 7 Ithltr=-Teithrzearztrgretsstaa4
— . ` , "...-41=L-r
1962—Museum's first exhibition brochure OWL HAS A MUSEUM TO DIRT T &STE, NONE FALL OF ISSN MITE DEDICATED ENTIRELY TO AMERICAS TOTE SIST
* 1961—Museum's Provisional Charter, awarded by New York State Board of Regents
1962—Membership application
Museum of Early American Folk Arts theCilvelVerrlirk
The First Decade, 1961-1971 s might be expected, the Museum's first decade was a time of multiple beginnings, as its founders sought to give shape and structure to a shared vision. For them, folk art was a vital element in American cultural history, and it warranted the establishment of an institution in the city of New York devoted to its collection, exhibition, and interpretation. This seems to be a simple enough proposition, but in retrospect the founding of the Museum took daring and dedication. The founders of the Museum were an intrepid band: Adele Earnest, a collector, dealer, and acknowledged authority on wildfowl decoys and other forms of folk sculpture; her business partner, Cordelia Hamilton; the collector Herbert W.Hemphill Jr., who had already established a reputa-
A
tion for eclectic interests; Joseph B. Martinson, a retired businessman and arts patron who became the new institution's first president; Marian Willard Johnson, a well-respected dealer in American art; and Arthur M. Bullowa, an attorney. When the Board of Regents of the New York State Education Department granted a provisional charter to these six pioneers on June 23, 1961, the prospects for acquiring a home or a collection for the Museum of Early American Folk Arts, as the new organization was initially called, were uncertain at best. Other folk art museums had been established in the previous fifteen years—including the Abby Aldrich Rockefeller Folk Art Center in 1957 and Electra Havemeyer Webb's Shelburne Museum in 1947—but they had distinguished collections and the patronage of families of great wealth. The Museum's founding trustees
were dedicated to their mission, but it was not clear that they could foster the support necessary to translate their goals into reality. The choice of New York City, then acknowledged as the art capital of the world, was significant in itself. The very idea that folk art could be studied and appreciated as art, rather than as material culture or historical or ethnographic artifact, was a byproduct of the growth of modernism as a movement in the history of American culture. That movement and its assumptions were closely associated with New York following the influential 1913 Armory Show, and many of the institutions and individuals—artists, collectors, curators, dealers—who figure prominently in the development of modern art have significant places in the field of American folk art as well. Through their efforts, objects that had been all but forgotten were being reclaimed as
SUMMER 2001 FOLK ART 43
As Hartigan suggests, the exhia vital part of American cultural history. As Wanda M. Corn has bition program of the first decade was observed in her engaging study, The ambitious. Although the Museum's Great American Thing: Modern Art emphasis, as might be expected, was and National Identity, 1915-1935, on the nineteenth-century and the the "final act in this steady move Northeast, the institution staked out a from attic to museum came in 1961, national and even international when a group of New York collectors purview for itself almost from the founded the Museum of Early Ameri- beginning. Mary Black, who served can Folk Art[s]; two years later they as director from 1964 to 1969, and opened the doors to galleries on West founding trustee Herbert W. Fifty-third Street, just a few doors Hemphill Jr., the Museum's first down from the Museum of Modern curator, presented the santos of northArt. Folk art stayed downtown from ern New Mexico (1964-1965); phothe Metropolitan, next door to the tographs of twentieth-century institution that did so much to seed roadside signs (1965); the sculpture the idea that folk art was both Ameri- of Tennessee's William Edmondson (1965); and Swiss folk art (1969) as can and modern."2 The Museum opened its gal- part of an exhibition program that leries to the public for the first time included Hudson River steamboat on September 27, 1963, in the rented portraits by James and John Bard parlor floor of a town house at 49 (1965); portraits by Erastus Salisbury West 53rd Street. George Mont- Field (1966); and the art of the decoy gomery, who had organized traveling (1968). In 1968, Black and the collecexhibitions for the Museum of Mod- tors Barbara and Lawrence Holdridge ern Art, was appointed the Museum's organized "Ammi Phillips: Portrait first director in 1963, a post he held Painter, 1788-1865," which was fully only until 1964. For the most part, the documented in a richly illustrated catinstitution's approach to the collec- alog, the first major publication in the tion and exhibition of American folk history of the Museum and a signifiart was grounded in the fine arts, fol- cant contribution to scholarship. lowing—but extending—the model The Museum's galleries at 49 of curator Holger Cahill, whose West 53rd Street were modest by any groundbreaking exhibitions at the standard, consisting of not more than Newark Museum and the Museum of 1,000 square feet of space. NevertheModern Art in the 1920s and 1930s less, its exhibitions often excited and helped establish the field. inspired visitors. The influential colPrior to the founding of the lector and scholar, Michael Hall, visMuseum of Early American Folk ited with Julie Hall for the first time Arts, most exhibitions of folk art in 1968, when the Museum was were organized as art-historical exhibiting a broad-based selection of surveys in which works of art were folk art from the permanent collecgenerally presented by medium— tion, with loans from private collecpainting, sculpture, watercolors, tors. "Some of the best objects were drawing. Even within its first decade, visible up on the second floor of the the Museum altered this approach old museum building," he recalled dramatically. Art historian Lynda many years later, "and we could see Roscoe Hartigan has recognized the them from where we were walking. significance of this new direction: We were just looking around, taking "By the early 1960s," she writes, it all in, and we saw these things, and ". . . the Museum of American Folk we went in—to kill time. Our folk art Art became the principal arena for encounter was that simple—it was, regularly staging one-person, the- however, powerful, and our convermatic, and genre-specific exhibitions. sion to folk art was almost instantaTo be sure, budget and space— neous....We just walked through the limited to a shoestring and two small museum and babbled—we efferrooms in a brownstone walk-up— vesced at every turn about the stuff restricted its efforts and audience. we were confronting."4 The Museum began to build a But, in retrospect, its exhibition program during the 1960s signaled a collection almost immediately after it major change in the field."3 was established. Hemphill presented
44 SUMMER 2001 FOLK ART
the now famous Flag Gate (c. 1876) as a gift in 1962. The Museum's initial accession, this piece remains among the most celebrated works of art in the permanent collection. Adele Earnest contributed the Archangel Gabriel weathervane (c. 1840) the following year. Featured as the cover image on the invitation of the institution's first exhibition, which was on view in the gallery of the Time & Life Building in October and November of 1962, the weathervane served as a well-loved symbol of the Museum for many years. During its first decade, other gifts also came to the Museum, along with one major purchase: the monumental, 9-foot-tall St. Tammany Weathervane (c. 1880), perhaps the country's largest. With a handful of exceptions, the institution's earliest acquisitions were three-dimensional objects. The Museum soon established a reputation for the visual strength and aesthetic importance of sculpture in its permanent collection, a reputation that was enhanced in 1969 by Alastair B. Martin's gift of 140 outstanding wildfowl decoys. Its other holdings were, relatively speaking, minor. At the end of its first decade, following a promising if uncertain beginning, the Museum entered a difficult period. Although it consistently received excellent reviews for its exhibitions, many of which were truly pioneering in scope, subject matter, and scholarship, the institution's goal of financial stability remained elusive. I remember visiting the Museum for the first time in 1969 to see "The Shaker Order of Christmas," a stunning installation by Mary Black. As a visitor, I was moved by this splendid exhibition of Shaker furniture, objects, and drawings; I could not have guessed that the Museum faced serious problems. Even so, the Museum continued to present provocative and engaging exhibitions, including Hemphill's wide-ranging and influential "Twentieth-Century American Folk Art and Artists" in 1970. In this and other shows at the Museum, Hemphill argued against the notion that the creation of folk art was a thing of the past. The new Museum established a reputation for its innovative program-
1975—Installation of "American Folk Sculpture in Wood" at 49 West 53rd Street
1973—Installation of "Louisiana Folk Paintings" at 49 West 53rd Street
The Second Decade, 1971-1981 f there were few reasons to celebrate the beginning of the Museum's second decade, there were at least several reasons for encouragement. A grant from the National Endowment for the Arts funded a series of exhibitions built around the theme "Rediscovery of Grass Roots America"; this contribution enabled Hemphill to experiment. In 1971 he presented the first two shows on this theme,"Macrame" and "Tattoo," which helped sustain the Museum's reputation as an innovator and drew more visitors than any of the exhibitions held during the institution's first decade of operation. In 1971, the Museum received a grant from the New York State Council on the Arts; this funded the planning and organization of a series of Bicentennial exhibitions on the folk arts of New York State. These were the very first of the many government grants the Museum would receive over the course of the next thirty years, and they were instrumental in boosting confidence at a challenging moment in the life of the institution. Also in 1971,in the same spirit of optimism that animated its exhibition program, the Museum published the first issue of The Clarion. Although it was then an eight-page illustrated newsletter, issued only irregularly, it was the direct antecedent of Folk Art, the Museum's award-winning quarterly magazine. Despite this and other positive signs, however, financial woes continued to threaten the Museum's survival. In the second issue of The Clarion, Wallace E. Whipple, director from 1971 to 1972, explained that the many encouraging developments masked a much more serious reality: "It would appear then that there are no problems. Unfortunately, that is not the case . . . [Although] we have been able to increase our income appreciably . .. [it] still falls short of what could be considered even minimal financial support." The financial strain on the institution was intense in those two years, and consideration was given to the sale of the Museum's collection at auction. This was a controversial proposal; ultimately, the Museum
I
ming and fidelity to mission. Its success in fulfilling its objectives was recognized by the Board of Regents in 1966, when it awarded a permanent charter to the institution under the name Museum of American Folk Art. Nevertheless, the decade ended in
doubt and even despair. In view of the seriousness of the Museum's financial challenges, which were exacerbated by the untimely death in 1970 of Joseph B. Martinson, the Board of Trustees considered closing the institution's doors forever in 1971.
SUMMER 2001 FOLK ART 45
retained ownership of the most important works of art in its collection and deaccessioned a group of other, less significant, objects in 1972. Ironically, the controversy focused attention on the needs of the institution, and generous friends rallied to the cause. Under the presidency of Kristina Barbara Johnson, a new group of trustees reinvigorated the board. In the words of founding trustee Adele Earnest, Johnson's "optimism and determination revived our morale."' Furthermore, the Museum now had a Friends Committee, a group of supporters committed to sustaining its mission, which was established at a meeting in the home of a new trustee, Jo Carole Lauder. During Joseph P. O'Doherty's one year as director (1973-1974), the membership of the Museum grew to almost a thousand. The brief but brilliant directorship of Bruce Johnson (1975-1976) helped bring a renewed sense of purpose to the organization. Among shows presented during his tenure, Johnson broke all attendance records at the Museum to that date with "American Cat-alogue—the Cat in American Folk Art"(1976), a popular romp that brought new friends and further attention to the institution. The Museum also produced a series of illustrated catalogs and books during this period. The momentum that Johnson inspired continued beyond his tragic death in a motorcycle accident at the age of twenty-seven in 1976. One of the Museum's new trustees was Ralph Esmerian, a young collector whose name appears in Museum records for the first time in 1973. The minutes of a meeting of the Board of Trustees refer to a proposal to invite Esmerian to serve as a trustee. The six members present that day could not have known how significant this suggestion would prove to be, but they acted upon it quickly. Richard Taylor, a trustee, and the Museum's legal counsel, met with Esmerian, and secured his agreement to serve. Then thirty-three years of age and relatively new to the field, Esmerian also agreed to assume the office of treasurer. As a newly elected board member, Esmerian entered an uncertain institutional environment. That he chose to do so at all may
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have been surprising in view of the challenges facing the Museum. That he did so with the conviction that the institution not only would survive but, if properly nurtured, would build a national center in New York for the study and appreciation of American folk art must have seemed a small miracle. He served as treasurer until 1977, as president from 1977 to 1999, and as chairman since then. In 1977, the Museum's Board of Trustees appointed Robert Bishop director. This decision signaled new directions for the institution. Bishop, not yet forty years old, had enjoyed a richly varied career, and most recently had been museum editor at Greenfield Village and Henry Ford Museum in Dearborn, Michigan. He was a talented promoter who took a broad, inclusive view of folk art. "Imaginative and possessed with boundless energy," a reporter wrote in 1979, "he moves easily between the museum world and such areas of popular culture as television and publishing—an important asset to a museum director who wants to keep his institution in the public eye." Working with Esmerian, a core group of dedicated trustees, and a growing professional staff, Bishop brought stability to the Museum, perhaps for the first time in its history. Membership skyrocketed from 1800 in 1977 to nearly 4000 in 1981. A prodigious author in the fields of the American folk and decorative arts, Bishop placed great emphasis on the Museum's publication program. The Summer 1977 issue of The Clarion evidenced that the Museum had entered a new era. It was no longer a newsletter; in addition to providing a glimpse of the Museum and its programming,it published topical essays on a variety of aspects of American folk art. It would soon be recognized as an important resource for the study of the subject and help boost membership in the Museum. Although several gifted colleagues were responsible for the editing and production of the publication, Bishop always retained a strong interest in The Clarion and helped mold its direction and design. Bishop recognized that "[t]he importance of a museum inevitably lies in the strength of its permanent
collection for it is, in effect [its] heart."' In order to encourage gifts to the Museum, he set an example by promising works of art from his own collection. In 1978, one year after he arrived at the Museum,Bishop boldly published "A Pictorial Guide to the Permanent Collection" in the midsummer issue of The Clarion. Many of the objects that he illustrated were his own promised gifts; others were the gifts or promised gifts of his friends and associates, including
trustee Cyril I. Nelson. For the first time since its founding, the Museum now held a collection of quilts and other textiles, and this collection soon would become one of its greatest strengths. A beginning collection of paintings, watercolors, and drawings was also in evidence. Most distinctively, perhaps, the collection now included paintings and sculpture by twentieth-century self-taught artists. In 1979, several trustees came together to purchase the famous Bird of Paradise Quilt Top (c. 1860) for the Museum. Another major acquisition was David Pottinger's gift in late 1980 of his comprehensive collection of midwestem Amish quilts. During the same year, the Museum received Effie Thixton Arthur's bequest of her large collection of chalkware figures. Most celebrated of the accessions during this period was a highly significant promised gift, the collection of figural sculpture assembled over many years by Dorothea and Leo Rabkin. Although it still had a long way to go, the Museum was clearly building a permanent collection of true substance and depth. One of the most successful initiatives of Bishop's early years at the Museum was the establishment of the Museum's docent program in 1978.
1981—Museum representatives at Cannondale, Connecticut home of lean and Howard Lipman, prior to purchase of Lipman collection. Left to right: Robert Bishop, Gerard C. Werlkin, Cathy Feldman, Lucy C. Danziger, Howard Feldman, Frances S. Martinson, Alice M. Kaplan, Thomas Rizzo, Margery Kahn, and Paul Martinson
1983—Robert Bishop at 49 West 53rd Street at time of exhibition, The Shape of Things: Folk Sculpture from Two Centuries."
This program not only provided a means for enriching the experience of visitors to the Museum, but also enhanced the Museum's ability to deliver educational services to school groups, an increasingly important institutional constituency. The first docent class consisted of a truly dedicated corps of volunteers, several of whom soon became active participants in the Museum's leadership team. Lucy Cullman Danziger, now executive vice president of the Museum's Board of Trustees and chair of its capital campaign, initially served as a founding docent and as docent co-chair. Among the exhibitions that the Museum presented in the closing years of its second decade were "Folk and Funk: Andy Warhol's Folk Art World" (1977), organized by Sandra Brant and Elissa Cullman; Robert Bishop's "The All-American Dog: Man's Best Friend in Folk Art" (1977); "The Art of the Weathervane" (1979), organized by Ralph Sessions; and "Small Folk: A Celebration of Childhood in America" (1980-1981), for which Brant and Cullman again served as co-curators, and as authors of the impressive book that documented the exhibition. "Small Folk" was a comprehensive show, too large for the Museum to accommodate in its entirety. As a result, a large portion of the exhibition was presented at The NewYork Historical Society. Because of the inadequate size and facilities of its rented gallery, the Museum sought to move into a home of its own almost from its earliest days as an institution. In 1979— through an introduction from Maureen Taylor, a trustee of the Museum, and her husband, Richard, a former trustee, and the interest of Blanchette Rockefeller—the Museum was able to purchase from the Rockefeller Brothers Fund two adjoining townhouses at 45-47 West 53rd Street, formerly a residence for actresses called the Rehearsal Club. This purchase would prove to be one of the single most significant events in the history of the institution. Although I was not yet a member of the Museum's staff, I attended an impromptu celebration in the newly purchased buildings on
the day the Museum took title to them. It was a moment of true jubilation. Although the buildings were in poor condition and thus could not be used, they provided the basis for future development. Through the generosity of Ralph Esmerian, the principal contributor of funds toward this purchase, and other thoughtful members of the Board, the Museum could now look forward to a home of its own. If the second decade began in doubt and uncertainty, it ended on a very high note, indeed.
The Third Decade, 1981-1991 hen I joined the staff of the Museum as assistant director in late 1980, it became clear to me almost immediately that the building project was the principal order of the day. Large photographs of an architectural model of the Museum's proposed building were the principal decorative flourish in the office that I shared with Bishop. Earlier that year, a group of investors friendly to the institution had acquired four additional parcels—the adjacent townhouses at 49,51,53 and 55 West 53rd Street—and placed
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them at the Museum's disposal. The Museum began to devise plans for a joint development of the six lots—an effort that dominated its third decade. These plans were complicated by a series of zoning, tenant, and legal issues that absorbed the time and attention of the Museum's board and administration. To be sure, the Museum continued to organize a full and varied schedule of exhibitions and educational programs, and the decade also witnessed impressive growth in the permanent collection, but the development of the Museum's future home took precedence over everything else. The Museum presented its exhibitions at 49 West 53rd Street until 1984, when it opened handsome new facilities nearby in a former jazz museum and Rockefeller carriage house at 125 West 55th Street. This was a temporary move, an optimistic response to affirmative developments in the building program, intended in part to permit the properties on 53rd Street to be prepared for demolition. The design team of Anne E. Bennett and Gordon T. H. Wallace created a striking interior setting on two levels. The galleries on 55th Street doubled the Museum's exhibition space.
SUMMER 2001 FOLK ART 47
The 55th Street galleries opened with considerable excitement. New York City Mayor Edward I. Koch and Commissioner of Cultural Affairs Bess Myerson cut the ceremonial ribbon. Among the memorable exhibitions presented there was Joyce Hill's beautiful "Cross Currents: Faces, Figureheads and Scrimshaw Fancies," which featured the paintings of Isaac Sheffield, Orlando Hand Bears, and Frederick Mayhew. Under the terms of the lease covering the 55th Street galleries, the Museum was required to vacate in 1986 (the building was subsequently razed). Without galleries of its own for almost four years, the institution organized a remarkable series of exhibitions and educational programs by utilizing public spaces and corporate galleries and forming partnerships with other museums. Ironically, these off-site exhibitions often were more ambitious in scope than those in the Museum's own galleries because the host venues offered more expansive facilities. Didi Barrett's provocative "Muffled Voices: Folk Artists in Contemporary America" (1986), for example, was one of several exhibitions presented by the Museum at the PaineWebber Art Gallery. The same year, Elizabeth V. Warren served as curator of "Young America: A Folk Art History," an impressive loan show conceived by Jean Lipman and
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presented at the IBM Gallery of Science and Art, and a selection from the permanent collection was installed at the Park Avenue Atrium Gallery, where it stayed into 1987. In 1987, Ben Apfelbaum's "Tobacco Roads: The Popular Art of an American Pastime" utilized the City Gallery of New York, and in 1988 my "City Folk: Ethnic Traditions in the Metropolitan Area" was installed at PaineWebber. In addition, the Museum strengthened and extended its traveling exhibition program to institutions throughout the country. At the end of the Museum's fourth decade, its exhibitions have been presented in no fewer than 150 museums and other venues in the United States and abroad, representing both a major public service and a professional affirmation of the merit of the Museum's programming. While negotiations on the future of the Museum's properties on 53rd Street continued, the Museum undertook the creation of branch exhibition facilities at Two Lincoln Square in Manhattan, on the ground floor of a multi-use building opposite Lincoln Center for the Performing Arts. Designed by Clifford LaFontaine and occupied under a tripartite agreement with the owner of the premises and the City of New York, this former "public arcade" provided more expansive exhibition space than
either of the institution's prior galleries. It opened to great fanfare in 1989, with Mayor Koch and other city and state officials in attendance. Named for the renovation's principal contributor and her late husband, the Eva and Morris Feld Gallery at Lincoln Square has supported a broadbased public program since it was opened twelve years ago.
1984â&#x20AC;&#x201D;The purchase by Ralph Esmerian for the Museum of Ammi Phillips' great portrait "Girl in Red Dress with Cat and Dog." The purchase captured headlines throughout the country.
1984—Installation of "Erastus Salisbury Field," 125 East 55th Street
1989—Installation of "American Folk Art: Expressions of a New Spirit," Eva and Morris Feld Gallery at Lincoln Square
In 1981 the Museum established a graduate program in folk art studies in conjunction with New York University, the first of its kind in the nation. The Folk Art Institute, an accredited program leading to a certificate in folk art studies, was initiated in 1985. Barbara Kaufman Cate, a professor of art history at Seton Hall University and now a trustee of the Museum, was the founding director of the Institute, to be followed in turn by another gifted educator, Lee Kogan. Soon after I joined the staff of the Museum in 1980, Bishop and I began a series of talks with Jean and Howard Lipman for the purchase of their collection of American folk art. A trustee emerita with ties that date back to the years immediately following the Museum's founding— and a great friend of Bishop's—Jean Lipman wanted this splendid gathering of paintings, sculpture, watercolors, and other objects to come to the Museum. Under the terms of an agreement with the Lipmans, the Museum accessioned thirty-nine key works and sold the remainder at auction to fund the purchase. In addition, the Museum's generous friend, Eva Feld, established an acquisition fund to help underwrite the Lipman purchase, and other loyal friends—Frances and Paul Martinson (a cousin of founding trustee Joseph B. Martinson) and Margery and Harry Kahn among them—provided the remaining funds. The Lipman acquisitions were among the works of art highlighted in "American Folk Art: Expressions of a New Spirit," a major traveling exhibition that toured museums in Europe, the United States, and Canada under the sponsorship of United Technologies. Jean and Howard Lipman also donated their extensive library to the Museum. The institution had maintained a research collection of books and catalogs since the 1960s, but the Lipman gift provided the needed incentive to develop a true library. Under the direction of Edith Croft Wise and the volunteer assistance of Eugene Sheehy and Rita Keckaissen, the library became a significant institutional asset. Among other significant accessions during the Museum's third
decade, Elizabeth Ross Johnson contributed a group of twentieth-century paintings and sculpture in 1985, the same year Animal Carnival, Inc., through trustee Elizabeth Wecter, transferred a collection of animal sculptures; Martin and Enid Packer's collection of tenth-anniversary tin arrived in 1988; and in 1989 Margot Paul Ernst gave her woven coverlet collection in memory of Susan B. Ernst. An encyclopedic gathering of painted tinware and other objects, the gift of the Historical Society of Early American Decoration, also came to the institution in 1989. The expected development of a multi-use building on six lots—upon which so much energy was expended during the decade—did not occur. The Museum successfully overcame every roadblock in its way, but market pressures and other forces over which it had no reasonable control
prevailed in the end. The six-lot project had to be scuttled. That fact, and Robert Bishop's increasingly serious illness, cast a shadow over the end of the Museum's third decade. The Museum's thirtieth anniversary passed with little notice.
The Fourth Decade, 1991-2001 y the summer of 1991, Robert Bishop was too ill to come to the Museum or participate in its direction; he died on September 22, 1991, and was deeply mourned by a wide circle of friends and professional associates. Dr. J. E. Jelinek, then president of the American Folk Art Society, captured the sentiments of many in the field in a letter that he wrote to me soon after Bishop's death: "All of us are in his debt in the way he brought folk art from a humble home on 53rd Street
B
SUMMER 2001 FOLK ART 49
to the world at large." After serving as acting director during Robert Bishop's illness, I was appointed director of the Museum in December of that year. During the 1990s the Museum presented an impressive program of exhibitions at the Eva and Morris Feld Gallery under the keen eye for excellence of Stacy C. Hollander, now senior curator and director of exhibitions. Her "Every Picture Tells A Story: Word and Image in American Folk Art" (1994-1995) and "A Place for Us: Vernacular Architecture in American Folk Art" (1996-1997) were especially notable. I was also delighted that Hollander and Howard P. Fertig organized "Revisiting Ammi Phillips: Fifty Years of American Portraiture," (1994) which extended Mary Black's 1968 project at the Museum and was accompanied by an excellent catalog. Over the course of the first thirty years of its history, the Museum's programming was remarkably diverse, but diversity became even more of an emphasis in the 1990s. Major presentations of works by African American and Latino artists became a regular feature of the Museum's exhibition schedule and permanent collection. Among these, Lee Kogan's important "The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do," was a popular favorite. Indeed, by its very nature the folk art field is multicultural; I believe that it can bring people together and help break down divisions in society. In 1991, a grant from the National Endowment for the Arts funded the purchase of an important collection of contemporary AfricanAmerican quilts. Although the permanent collection continued to grow, the Museum had no regular program to share its riches with the public on a sustained basis. That was to change in 1993, when the Museum rededicated the south wing of the Eva and Morris Feld Gallery at Lincoln Square as the Daniel Cowin Permanent Collection Gallery. Named in memory of a deeply respected trustee, the gallery was refurbished with funds that he generously bequeathed to the Museum as well as with the memorial contributions of his friends and fam-
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ily. Since its dedication, the Daniel Cowin Permanent Collection Gallery has played host to many of the "stars" of the Museum's collection and has provided the Museum with a venue where the story of folk art may be told on an ongoing basis. In 1998 I announced the formation of the Contemporary Center, a division of the institution devoted entirely to the collection and exhibition of the paintings, sculpture, and installations of twentieth- and now twenty-first century self-taught artists. This Museum department, under the able leadership of Brooke Davis Anderson, its director and curator, is already establishing a major role in this burgeoning field. The establishment of the Contemporary Center prompted the gift to the Museum of important collections of works by twentieth-century selftaught artists from M. Anne Hill and Edward Vermont Blanchard, Sam and Betsy Farber, and David Davies. The Farber gift included several outstanding European works by Adolf Wolfli and others in the category of art brut, demonstrating the broadening of the Museum's mission. In 2001, the Contemporary Center announced the acquisition, by purchase and gift, of twenty-four works by the great Chicago artist Henry Darger, as well as a huge archive of Darger's manuscript books, tracings, drawings, and source materials. This acquisition will be highlighted in one of the initial presentations in the Museum's new building and in a striking companion
volume, Darger: The Henry Darger Collection at the American Folk Art Museum. The Museum's fourth decade also witnessed changes in The Clarion under the direction of Rosemary Gabriel, director of publications. Renamed Folk Art to more accurately reflect its mission, the magazine advanced to a full-color format in 1993. The publications department also began to initiate major book projects during this period. Although the Eva and Morris Feld Gallery greatly improved its capacity to serve the public in the 1990s, the Museum persisted in its efforts to develop a permanent home. During the middle part of the decade, the Museum considered the purchase of several buildings, but was unable to locate an existing structure that filled its needs. Finally, it returned to its roots, having determined to develop a new building on the lots at 45 and 47 West 53rd Street, which it had owned since 1979. As we have seen, the adjoining lots were no longer available for a joint project, and the Museum's trustees commissioned the internationally recognized architectural team of Tod Williams Billie Tsien & Associates to design a 30,000-square-foot structure on the two lots. The trustees also announced the commencement of a $34.5 million capital campaign to underwrite the costs of construction and the establishment of an endowment. The building is slated for completion at the end of this year.
1999-2000â&#x20AC;&#x201D;Installation "Millennial Dreams: Vision and Prophecy in American Folk Art" at the Eva and Morris Feld Gallery at Lincoln Square
1995—Gerard C. Wertkin in the Eva and Morris Feld Gallery at time of "Norwegian Folk Art: the Migration of a Tradition," 1995-1996.
2001—Installation, "ABCD: A Collection of Art Brut" at the Eva and Morris Feld Gallery at Lincoln Square In 2001, the Museum announced plans to renovate the Lincoln Square facility, and to operate it as an auxiliary gallery.
Known initially as the Museum of Early American Folk Arts, the institution adopted a more inclusive name in 1966; as the Museum of American Folk Art it established a reputation for examining virtually every aspect of the folk arts in America. The Museum has now chosen its new name, American Folk Art Museum, as an expression of a further extension of mission. The word "American" functions as an indication of the Museum's location, emphasis, and principal patronage, rather than as a limitation on the kinds of art that it collects, interprets, or presents. In anticipation of the opening of the Museum's new home, many thoughtful donors have given or promised highly important objects in
virtually every medium for the permanent collection. Indeed, the growth of the permanent collection has been a striking feature of the 1990s. The most significant gift comprises more than four hundred works of art representing the heart of Ralph Esmerian's folk art collection. This extraordinary act of generosity will be celebrated as one of the opening presentations in the new building and in a beautiful companion volume, American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum. I have been fortunate to serve with a richly gifted professional staff and a dedicated Board of Trustees. On the staff side, Deputy Director Riccardo Salmona has coordinated the capital campaign and building program with creativity, tenacity, and commitment, and much of our success can be directly attributed to his sustained efforts. On the board side, the inspiring leadership of Ralph Esmerian, chairman of the board; L. John Wilkerson, president; Frances Sirota Martinson, executive vice president and chair, Executive Committee; Lucy C. Danziger, executive vice president and chair, Capital Campaign; Barry Briskin, treasurer; and Sam Farber, chair, Building Program, among many others, has carried the day. As the American Folk Art Museum concludes its fourth decade, it is a time for celebration and gratitude. Founding trustee Adele Earnest struck a millennial note seventeen years ago in the concluding paragraph
of her book Folk Art in America. Although she herself did not live to see the realization of her dream, she fully anticipated its fulfillment. "When I climb the hill near my home in Stony Point," she wrote, "I will look straight down the Hudson River, thirty miles to New York City where our [museum] shall stand. On that triumphant day, our Angel Gabriel will blow his horn, loud and clear, in honor of all who have served our cause, and especially for those who have served and passed through the pearly gates. BLOW! GABRIEL! BLOW!"*
Notes 1 This survey of highlights concentrates on the public side of the Museum's history—its institutional growth, building program, exhibitions, and collection development. It does not cover other impressive achievements in the growth of the Museum over its four decades—for example, the Museum shop, licensing, benefits, public relations—without which the American Folk Art Museum could not have flourished. 2 Wanda M. Corn, The Great American Thing: Modern Art and National Identity, 1915-1935(Berkeley, Calif.: University of California Press, 1999), 326. 3 Lynda Roscoe Hartigan, Made with Passion (Washington,D.C.: Smithsonian Institution Press for the National Museum of American Art, 1990), 27. 4 Russell Bowman,"Interview with Michael Hall," in Common Ground/Uncommon Vision: The Michael and Julie Hall Collection ofAmerican Folk Art in the Milwaukee Art Museum (Milwaukee: Milwaukee Art Museum, 1993), 24. 5 Adele Earnest, Folk Art in America: A Personal View (Exton,Penn.: Schiffer Publishing Ltd., 1984), 181. 6 Agnes Clark,"Folk Art Museum Moves Ahead: New Home,New Collection Possible," Maine Antiques Digest(October 1979), 18-A. 7 "A Pictorial Guide to the Permanent Collection," The Clarion vol. 3, no. 3(Mid-Summer 1978), n.p.
SUMMER 2001 FOLK ART Ell
An AmerTcan OH Glory in Folk Art To celebrate the Museum's fortieth birthday and the first Independence Day of the new millennium, we bring you a brief survey of the American flag in folk art, with excerpts from Long May She Wave: A Graphic Histoly of the American Flag, written by Kit Hinrichs and Delphine Hirasuna and featuring photographs by Terry Heffernan. The images herein are from Long May She Wave and the American Folk Art Museum's permanent collection. 52 SUMMER 2001 FOLK ART
3Irthday Card FLAG MEGAPHONE Artist unidentified United States Late nineteenth/early twentieth century Painted metal 30 15'' American Folk Art Museum, gift of Bruce Lacont, 1983.2.1
FLAG GATE Artist unidentified Jefferson County. New York C. 1876 Painted wood with iron and brass 39' 57 334" American Folk Art Museum, gift of Herbert Waide Hemphill Jr.. 1962.1.1
slâ&#x20AC;˘NIMER 200 I FOLK ART 53
EAGLE John Haley Bellamy Kittery Point, Maine c. 1890 Paint on pine with traces of gilding 30 99 10" American Folk Art Museum, promised gift of Ralph Esmerian, P1.2001.340
â&#x20AC;˘he Revolutionary Congress resolved in 1777 that "The flag of the United States [will] be 13 stripes, alternate red and white, that the Union [will] be 13 white stars in a blue field representing a new constellation." Since that time, the American flag has been raised high in wartime triumph and peacetime celebration; burned in fervent protest; sewn lovingly into quilts, caps, pillows, and bags; appropriated by the commercial sphere to sell goods as varied as cigars, designer clothing, and rock and roll albums; and faithfully honored every Fourth of July to celebrate America's independence. Far from being a static symbol, though, the flag has been subjected to countless graphic interpretations over its 224-year history, each version owing more to the personality of the maker than to established formal conventions. From April 18 through July 11, 1999, "Stripes and Stars: A
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NAVAJO CHEVROLET WEAVING Maker unidentified Probably Gallup, New Mexico (Originally hung in a Gallup, New Mexico, Navajo Chevrolet Car Dealership) 1945 Wool 44 29" Collection of Kit Hinrichs From Long May She Wave
AVAJO CHEVROLET
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UNCLE SAM "BLOW OSKAR" R.A. Miller United States 1989 Tin and enamel 46 9'4" Collection of Kit Hinrichs From Long May She Wave
CELEBRATION Eddie Arning Austin, Texas 1965 Oil pastel on laid paper 21% x 31%" American Folk Art Museum, gift of Timothy and Pamela Hill, 1981.20.1
BOY WITH LAMB AND FLAG Artist unidentified Eastern United States 1860-1900 Painted plaster of paris >. 5/ 1 2" 12/ 1 2 American Folk Art Museum, bequest of Effie Thixton Arthur, 1980.2.88
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CROCHETED EAGLE AND FLAG Maker unidentified United States 1919 Cotton string 20/ 1 2 = 171 / 2" Collection of Kit Hinrichs From Long May She Wave
SOLID AS THE OAK PILLOW COVER Maker unidentified United States c. 1900 Embroidered cotton 20 20" Collection of Kit Hinrichs From Long May She Wave SUMMER 2001 FOLK ART 55
Visual History of an American Icon," an exhibition of more than 1,000 objects featuring our nation's flag, was presented at the San Jose Museum of Art in California. The following year, the exhibition traveled to the American Institute of Graphic Arts in New York, where it ran from June 29 through August 25. All of the objects in the show were borrowed from graphic designer Kit Hinrichs' collection of more than 3,000 artifacts depicting the American flag. The objects in this comprehensive collection range from Civil Warâ&#x20AC;&#x201D;era banners and Native American moccasins to flag art by several of the world's leading contemporary designers and numerous examples of American folk art. The exhibition was hailed as a marvel of folk history and a time capsule of cultural commentary. The collection is now featured in Long May She Wave:A Graphic History ofthe American Flag,
1513 SUMMER 2001 FOLK ART
GLORIOUS LADY FREEDOM QUILT Moneca Caked Carmichael, California 1985-1986 Cotton, cotton blends, and linens, with cotton embroidery 72 711 / 2" American Folk Art Museum, The Scotchgard Collection of Contemporary American Quilts, Grand Prize Winner, The Great American Quin Contest in Celebration of the Statue of Liberty Centennial, 1986, 1986.14.1
HOMEMADE LEARNING PUZZLE Maker unidentified United States c. 1930 Painted plywood and metal pegs with plastic drawer handles 17/ 3 4 20/ 1 2 2/ 1 2" Collection of Kit Hinrichs From Long May She Wave
UNCLE SAM POSTCARD Maker unidentified China c. 1900 Ink, watercolor, and canceled stamp collage 5/ 1 2 x 3/ 1 2 " Collection of Kit Hinrichs From Long May She Wave
LONG MAY SHE WAVE A Graphic History of the American Flag Kit Hinrichs and Delphine Hirasuna Foreword by Gerard C. Wertkin Photography by Terry Heffernan Ten Speed Press, 2001 216 pages 11 14 inches More than 500 full-color illustrations $60 hardcover $150 Limited edition with slipcase Call 800/841-2665 or e-mail ordergtenspeed.com
rom one of the world's leading graphic designers comes a stunning tribute to America's most enduring iconâ&#x20AC;&#x201D;the Stars and Stripes. This work features 3,000 objects ranging from toy soldiers and collectible spoons to historic flags and folk art. Filled with full-color illustrations, Long May She Wave will delight folk art enthusiasts, history buffs, and collectors alike. Kit Hinrichs, a partner in the international FLAG AND DOG SHOTGUN SHELL CASE Maker unidentified United States c. 1940 Wood, metal, and leather 10/ 1 2 9/ 1 2 3/ 1 2" Collection of Kit Hinrichs From Long May She Wave
design consultancy Pentagram, is coauthor of several books, including Stars and Stripes, Vegetables, and Typewise. His work has been exhibited internationally and is in the permanent collection of the Museum of Modern Art. Delphine Hirasuna is coauthor of two cookbooks, a regular contributor to Hemispheres magazine, and general editor of @issue magazine, the journal of business and design. Terry Heffernan is an award-winning,
UNCLE SAM RIDING A BICYCLE WHIRLIGIG Artist unidentified Probably New York State c. 1880-1920 Painted wood with metal 37 x 55/ 1 2x 11" American Folk Art Museum, promised bequest of Dorothea and Leo Rabkin, P2.1981.6
large-format still-life specialist. He is also in demand as a tabletop film director, producing TV commercials with an emphasis on food.
SUMMER 2001 FOLK ART 57
:4!
UNCLE SAM M. Rothloff Athens, Pennsylvania c. 1922 Carved and painted fruitwood 13 . 4 3" American Folk Art Museum, gift of Ralph Esmerian, 1997.17.6
a beautiful 216-page volume published by Ten Speed Press. In the foreword to this outstanding book, Gerard C. Werticin, director of the American Folk Art Museum,reminds us of the ubiquity of the flag in our visual culture. He points out that some of the most engaging objects in the Museum's collection are based wholly or in part on the Stars and Stripes: a remarkably diverse assortment of nineteenth- and twentieth-century quilts, needlework, samplers, trade signs, whirligigs, weathervanes, even a sprightly megaphone. Each bears the red, white, and blue of its maker's national pride and identification as an American. "Works of folk and vernacular art have always been receptive to symbolic references to the nation—the image of liberty, the bald eagle, and Uncle Sam... but only the flag seems to capture the essence of America."*
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McKINLEY QUILT Quiltmaker unidentified Inscribed W.R.H. United States 1901 Cotton bunting 1 2" 68 . 80/ Collection of Kit Hinrichs From Long May She Wave
CITY HALL Vestie Davis New York c. 1975 Oil on canvas 25/ 1 2 x 37/ 1 2 x Ye" American Folk Art Museum, gift of Ken and Asa Miller, 1984.32.1
Essays from The Clarion and Folk Art Fall 1975 Through Summer 2001 A Subject Index THE CLARION
VA.
The FAA AA Newsletter published by The Museum A American Folk Art Winter NM
Compiled by Alissa L. Bouler
The
Museum published The Clarion (vol-
ume 1, no. 1), its first newsletter, in the winter of 1971. Four years later, the fall 1975 issue included our first full-length essay,"The Hunt for the Decoy." Written by Adele Earnest, then vice president of the Museum's Board of Trustees, it ran for seven pages and was illustrated with thirteen beautifully carved birds. Starting with the summer 1977 issue, The Clarion adopted a magazine format and began accepting advertising; that issue also featured essays by Julia Weissman, Davis Mather, Julie Hall, and Jean 'Krolik. With the fall 1992 issue (volume 17, no. 3), the magazine was renamed Folk Art. We are now up to volume 26, no. 2â&#x20AC;&#x201D;that's thirty years of research, critical insight, and scholarship contained in almost 120 issues and 378 full-length essays. Thanks to Tanya Heinrich for creating the publication department's database and to Laura Tilden for her tenacious fact-checking. The following is a subject index of all of the essays published in The Clarion and Folk Art since "The Hunt for the Decoy." SUMMER 2001 FOLK ART 59
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INDIVIDUAL ARTISTS Alexander, James Will the Real James Alexander Coverlets Please Stand Up? Rabbit Goody, spring 1992, vol. 17/no. 1 Ames,Asa Asa Ames and the Art of Phrenology Stacy C. Hollander, summer 1989, vol. 14/no. 3 * Amezcua, Chelo Gonzalez The Visionary Drawings of Chelo Gonzalez Amezcua Jenifer P. Borum, fall 1999, vol. 24/no. 3 Ancona,Vincenzo Reweaving the Past: Vincenzo Ancona's Telephone Wire Figures Joseph Sciorra, spring/summer 1985, vol. 10/nos. 2 and 3 Andrews, George and Benny Folk and Family: George and Benny Andrews Susie Mee, fall 1990, vol. 15/no. 4 * Archuleta, Felipe Felipe Archuleta—Folk Artist Davis Mather, summer 1977, vol. 2/no. 3 Ashby,Steven A Visit with Steven Ashby Chuck Rosenak, winter 1980/81, vol. 6/no. 1 Badami,Andrea Rediscovering Andrea Badami Chuck Rosenak, spring/summer 1987, vol. 12/nos. 2 and 3 Balls, C. The Search for the Elusive C. Balis Cynthia Sutherland, fall 1984, vol. 9/no. 4
•
Birnbaum,Aaron A Little Pepper, A Little Salt: Aaron Birnbaum Anne Mai, fall 1995, vol. 20/no. 2 Blayney, William A. Millennial Missionary: William Alvin Blayney: A Highlight from the Museum's Collection and its Current Exhibition Brooke Davis Anderson, winter 1999/2000, vol. 24/no. 4 * Blunt, John John Blunt: The Man,The Artist, and His Times Dr. Robert Bishop, spring 1980, vol. 5/no. 2 Brewster, John Jr. John Brewster, Jr.: An Artist for the Needleworker Davida Tenenbaum Deutsch, fall 1990, vol. 15/no. 4 * Miniatures by John Brewster Jr. Joyce Hill, spring/summer 1983, vol. 8/nos. 2 and 3 Brown,J. The Mystery of J. Brown Elizabeth V. Warren, fall 1998, vol. 23/no. 3 * Budington, Jonathan Jonathan Budington: Face Maker Arthur and Sybil Kern, fall 1997, vol. 22/no. 3 * Castle, James Found and Profound: The Art of James Castle Tom Trusky, winter 1999/2000, vol. 24/no. 4 *
Barker,Emeline The Search for Emeline Barker Deborah Lyttle Ash, winter 1994/95, vol. 19/no. 4 *
Coolidge, Flavel, Jr. Detective Work: The Studies of Four Folk Art Researchers Lois S. Avigad, summer 1990, vol. 15/no. 3
Bascom, Ruth Henshaw Ruth Henshaw Bascom: A Youthful Viewpoint Lois S. Avigad, fall 1987, vol. 2/no. 4
Coyle, Carlos Cortes Themes in the Work of Carlos Cortes Coyle Patti M. Marxsen, winter 1986/87, vol. 12/no. 1
Fall 1990 Darger, Henry Good Vs. Evil in the World of Henry Darger Randall Seth Morris, fall 1986, vol. 11/no. 4 *
Dial, Thornton Strategy of the Tiger: The World of Thornton Dial Jenifer P. Borum, winter 1993/94, vol. 18/no. 4
Henry Darger: The Unreality of Being: On Preparing, Organizing, and Mounting a Darger Exhibition Stephen Prokopoff, winter 1996/97, vol. 21/no. 4 *
Dieter, Charlie Four from Coal Country: Friendships and the Contemporary Folk Artist N.F. Karlins, spring/summer 1987, vol. 12/nos. 2 and 3
Davis, J.A. J.A. Davis: Identity Reviewed Arthur B. Kern and Sybil B. Kern, summer 1991, vol. 16/no. 2 * The Surprising Identity of J.A. Davis Arthur Kern and Sybil Kern, winter 1981/82, vol. 7/no. 1
Downes,P.S. Voyage of a Lifetime Toby Landey,fall 1981, vol. 6/no. 4 Doyle, William M.S. The Pastel Portraits of William M.S. Doyle Arthur B. Kern and Sybil B. Kern, fall 1988, vol. 13/no. 4 *
Davis, Joseph Joseph H. Davis: Identity Established Arthur Kern and Sybil Kern, summer 1989, vol. 14/no. 3 *
Edmondson,William William Edmondson Jack L. Lindsey, spring 1995, vol. 20/no. 1 *
Dellschau, Charles A.A. Flight or Fancy? The Secret Life of Charles A.A. Dellschau Tracy Baker-White, fall 2000, vol. 25/no. 3 *
Dialogues with Stone: William Edmondson, Ernest "Popeye" Reed, and Ted Ludwiczak Meridean Hutton, spring 1996, vol. 21/no. 1 *
Dey,John William "Uncle Jack": John William Dey R. Lewis Wright, Jeffrey T. Camp, and Chris Gregson, spring 1997, vol. 17/no. 1 *
The Art of William Edmondson at Cheekwood Rusty Freeman, spring 2000, vol. 25/no. 1
Dial, Richard Southern Comfort: The Chairs of Richard Dial Kathleen A. Connors, fall 1994, vol. 19/no. 3 *
Evans, Minnie Minnie Evans & Me Nina Howell Starr, winter 1994/95, vol. 19/no. 4 * Cosmograms and Cryptic Writings: "Africanisms" in the Art of Minnie Evans Sharon D. Koota, summer 1991, vol. 16/no. 2 *
*Indicates that this issue is available for sale at $6 per copy. Add $3 postage and handling for the first copy,$1 postage and handling for each additional copy. 60 SUMMER 2001 FOLK ART
•• - .••••
Bayer, Harold Everett Harold Everett Bayer: Toledo, Ohio Folk Artist Jenne Regas, winter 1980/81, vol. 6/no. 1
Fasanella, Ralph Ralph Fasanella: The Making of a Working-Class Artist Paul S. D'Ambrosio, summer 1995, vol. 20/no. 2 * Finster, Howard Howard Finster: Man of Visions J.F. Turner, fall 1989, vol. 14/no. 4 * Howard Finster's Paradise Garden: A Plan for the Future Daniel C. Prince, winter 1988, vol. 13/no. 1 * Freake, Elizabeth and John Elizabeth and John Freake: Fashions of the Times Mimi Sherman, winter 1990/91, vol. 15/no. 5 * Frost, Edward Sands Edward Sands Frost and His Historic Hooked Rug Patterns Dr. Robert Bishop, summer 1977, vol. 2/no. 3 Gatto, Victor Joseph Painter on Painter Sterling Strauser, spring 1988, vol. 13/no. 2 * The Art and Times of Victor Joseph Gatto Gene Epstein, spring 1988, vol. 13/no. 2 * Gibson, Sybil More than a Pretty Face: The Art of Sybil Gibson John Hood, winter 1998/99, vol. 23/no. 4 *
THE CLARION
Greenleaf, Benjamin Benjamin Greenleaf: Nineteenth Century Portrait Painter Arthur B. Kern and Sybil B. Kern, spring/summer 1985, vol. 10/nos. 2 and 3 Guild, James James Guild: Quintessential Itinerant Portrait Painter Arthur Kern and Sybil Kern, summer 1992, vol. 17/no. 2 * Hambuck,Carl Carl Hambuck: Richmond Artist R. Lewis Wright, winter 1983/84, vol. 9/no. 1 Harris, Felix A Conservation Crisis: The Work of Felix "Fox" Harris, A Case Study Lynn P. Castle, spring 1994, vol. 19/no. 1 * Harvey, Bessie Bessie Harvey: The Spirit in the Wood Shari Cavin Morris, spring/summer 1987, vol. 12/nos. 2 and 3 Hawkins, William William Hawkins and the Art of Astonishment Joanne Cubbs and Eugene W. Metcalf, fall 1997, vol. 22/no. 3 * Hicks,Edward Edward Hicks: Ornamental Painter Carolyn J. Weekley and Scott W. Nolley, fall 1999, vol. 24/no. 3 Huge,Jurgen Frederick The Lost Sketchbook of Jurgen Frederick Huge David A. Schorsch, spring 1992, vol. 17/no. 1 * Hutson, Charles Woodward The Gifted Amateur: The Art and Life of Charles Woodward Hutson William A. Fagaly, fall 1997, vol. 22/no. 3 * Jones,Frank African-American Visionary Traditions and the Art of Frank Jones Lynne Adele, winter 1990/91, vol. 15/no. 5 *
PHRENOLOGICAL HEAD / attributed to Asa Ames/ Evans, Erie County, New York / c. 1850 / paint on wood / 16% x 13 7/ 1 2"/ American Folk Art Museum, bequest of Jeanette Virgin, 1981.24.1
Kane, John John Kane: Modern America's First Folk Painter Jane Kallir, spring/summer 1984, vol. 9/nos. 2 and 3
Lapp, Henry and Elizabeth The Paintings of Henry & Elizabeth Lapp Daniel J. McCauley III, fall 1994, vol. 19/no. 3 *
Kendrick, Eddie Lee A Spiritual Journey: Architecture and Visionary Experience in the Art of Eddie Lee Kendrick Alice Rae Yelen, summer 1999, vol. 24/no. 2 *
Lieberman,Harry Harry Lieberman Patricia L. Coblentz, winter 1978, vol. 3/no. 1
Krans, Olaf Olaf ICrans of Bishop Hill Colony Anna Wadsworth Murray, spring/summer 1981, vol. 6/nos. 2 and 3 The World of Olaf ICrans Merle H. Glick, fall 1982, vol. 7/no. 4 Kym,Emil "Maier" Emil "Maler" Kym, Great Plains Folk Artist Steve Freisen, fall 1978, vol. 3/no. 4 Labrie, Rose The Creative Spirit Rose Labrie, fall 1984, vol. 9/no. 4
Ludwiczak,Ted Dialogues With Stone: William Edmondson, Ernest "Popeye" Reed, and Ted Ludwiczak Maridean Hutton, spring 1996, vol. 21/no. 1 * MacDonald,Thomas The Discovery of Thomas MacDonald: Canada's Elusive Portrait Painter Michael Bird and Terry Kobayashi, winter 1987/88, vol. 13/no. 1 Maentel,Jacob Jacob Maentel: Portraits of a Proud Past Valerie Redler, fall 1983, vol. 8/no. 4
Spring 1980 SUMMER 2001 FOLK ART 61
McCarthy,Justin What Kind of Art is This? Justin McCarthy and the Age of Outsiderism Gene Epstein, winter 1992/93, vol. 17/no. 4 Four from Coal Country: Friendships and the Contemporary Folk Artist N.F. Kuhns,spring/summer 1987, vol. 12/nos. 2 and 3 McClusky, C.T. The Collages of C.T. McClusky John Turner, summer 2000, vol. 25/no. 2 * Mead,Abraham 'Totter" Connecticut's Potter Mead: A Legacy in Stoneware Jeanne Marie Corley, winter 1988, vol. 13/no. 1 *
Mr.Imagination(Gregory Warmack) In The Mind's Eye: Egypt and SelfMythification in the Art of Mr. Imagination Hip6lito Rafael Chac6n, summer 1998, vol. 23/no. 2 * Monza,Louis Louis Monza: Passionate Protest and Hard Love Susan C. Larsen, winter 1996/97, vol. 21/no. 4 * Morgan, George E. George E. Morgan: Self-Taught Maine Artist Chippy Irvine, summer 1998, vol. 23/no. 2 * Moses,Anna Mary Robertson "Grandma" Grandma Moses: The Artist Behind the Myth Jane Kallir, fall 1982, vol. 7/no. 4 Moulthrop, Reuben Reuben Moulthrop: Artist in Painting and Waxworks Stacy C. Hollander, fall 1994, vol. 19/no. 3 *
Revisiting Anuni Phillips: Fifty Years of American Portraiture Stacy C. Hollander, spring 1994, vol. 19/no. 1 *
Fall 1983 Murray,William Painters of Record: William Murray and His School Arthur B. Kern and Sybil B. Kern, winter 1986/87, vol. 12/no. 1 O'Kelley, Mattie Lou Mattie Lou O'Kelley: Reflections on the Artist and Her Work Gerard C. Werticin, winter 1997/98, vol. 22/no. 4 * Osborn(e), James James Osborn(e): Maine Folk Painter Arthur Kern and Sybil Kern, summer 1994, vol. 19/no. 2 Peck,Sheldon Detective Work: The Studies of Four Folk Art Researchers David Krashes, summer 1990, vol. 15/no. 3 * Peckham, Robert Robert Peckham: Unsung Rural Master David ICrashes, spring 1996, vol. 21/no. 1 * Perates, John The Icons of John Perates Nora Lucas, winter 1980/81 vol. 6/no. 1 Person,Leroy The Thrones and Chairs Leroy Person Made Everett Mayo Adelman, fall 1994, vol. 19/no. 3 *
COW JUMP OVER 711E MONE / Nellie Mae Rowe / Vinings, Cobb County, Georgia / 1978 / colored pencil, crayon, and pencil on paper / 19/ 1 2 25'4" / American Folk Art Museum, gift of Judith Alexander, 1997.10.1
Phillips, Ammi Annul Phillips: The Country Painter's Method Mary Black, winter 1985/86, vol. 11/no. 1
Pierce, Elijah Elijah Pierce and James Hampton: One Good Book Begets Another Lynda Roscoe Hartigan, summer 1994, vol. 19/no. 2 Pinney, Eunice Couple & Casualty: The Art of Eunice Pinney Unveiled Susan Foster, summer 1996, vol. 21/no. 2 * Pry,"Old Ironsides" Four from Coal Country: Friendships and the Contemporary Folk Artist N.F. Karlins, spring/summer 1987, vol. 12/nos. 2 and 3 Ramirez, Martin The Problem of Martin Ramirez: Folk Art Criticism as Cosmologies of Coercion Michael A. Hall, winter 1986, vol. 11/no. 1 Martin Ramirez Randall Morris, winter 1995/96, vol. 20/no. 4 Reed, Ernest "Popeye" Dialogues with Stone: William Edmundson, Ernest "Popeye" Reed, and Ted Ludwiczak Maridean Hutton, spring 1996, vol. 21/no. 1 Rice, William William Rice: At the Sign of the Lion Susan P. Schoelwer, spring 2001, vol. 26/no. 1 * Rizzoli, A.G. Magnificent Manifestation: The Symbolic Architecture of A.G. Rizzoli Jo Farb Hernandez, spring 1997, vol. 22/no. 1 * So Much to Do, So Little Done: The Mysteries of A.G. Rizzoli Bonnie Grossman, spring 1997, vol. 22/no.1 *
*Indicates that this issue is available for sale at $6 per copy. Add $3 postage and handling forth e first copy, $1 postage and handling for each additional copy. 02 SUMMER 2001 FOLK ART
Robinson, Aminah Aminah Robinson: One Artist's Ties to Folklife and Folk Art Mimi Brodsky Chenfield, summer 1989, vol. 14/no. 3 *
Skyllas, Drossos Spinning in a Lonely Orbit: The Work of Drossos P. Skyllas Jenifer P. Borum, winter 1994/95, vol. 19/no. 4*
Tolson, Edgar You Make It with Your Mind: The Art of Edgar Tolson Michael D. Hall, spring/summer 1987, vol. 12/no. 2
Williams, Micah Micah Williams: A Recurring Quandary Nancy Tobin Dorer, winter 1993/94, vol. 18/no. 4
Rosenak, Chuck The Rosenak Archives at the Museum of American Folk Art Lee Kogan, summer 2000, vol. 25/no. 2 *
Skynner,Thomas Detective Work: The Studies of Four Folk Art Researchers Stacy C. Hollander, summer 1990, vol. 15/no. 3 *
Traylor,BM Bill Traylor Diane Finore, spring/summer 1983, vol. 8/nos. 2 and 3
Willson, Mary Ann Mary Ann Willson: Artist Maid Stacy C. Hollander, summer 1998, vol. 23/no. 2 *
Rowe,Nellie Mae Nellie Mae Rowe Lee Kogan, winter 1998/99, vol. 23/no. 4 *
Smith, Royall B. Painted by Royal! B. Smith Arthur Kern and Sybil Kern, spring 1988, vol. 13/no. 2 *
The Utica Artist Who Was the Utica Artist? Paul D. Schweizer and Barbara Polowy, fall 1983, vol. 8/no. 4
Yoakum,Joseph Joseph E.Yoakum: Visionary Traveler Jacqueline M.Atkins, winter 1989/90, vol. 15/no. 1 *
Rudy, Durs The Watercolors of Durs Rudy: New Discoveries in Fralctur Gerard C. Wertkin, summer 1993, vol. 18/no. 2
Steinberg, Sam Sam Steinberg: A House of Cardboard or a Marble Palace? Craig Bunch, summer 1996, vol. 21/no. 2 *
Sanchez, Mario I Paint What I Remember: The Art of Mario Sanchez Barbara Rothermel, fall 1996, vol. 21/no. 3 *
Stovall, Queena Queena Stovall: Reflections of a Country Life Barbara Rothermel, spring 1999, vol. 24/no.1 *
St. EOM St. EOM's Pasaquan: A Promising Future Tom Patterson, winter 1988, vol. 13/no. 1 *
Sudduth,Jimmy Lee Jimmy Lee Sudduth John Hood, winter 1993/94, vol. 18/no. 4
Savitsky, Jack Four from Coal Country: Friendships and the Contemporary Folk Artist N.F. Karlins, spring/summer 1987, vol. 12/nos. 2 and 3 Schipper, Gerritt New Light on Gerritt Schipper the Painter Jeanne Riger, winter 1989/90, vol. 15/no. 1 * Scholl, John In Celebration of a Sunburst: The Sculpture of John Scholl Charlotte Emans, fall 1983, vol. 8/no. 4
Sullivan, Patrick Patrick J. Sullivan: Allegorical Painter Gary E. Baker, winter 1979/80, vol. 5/no. 1 Tolliver, Mose Mose Tolliver: Picture Maker Lee Kogan,fall 1993, vol. 18/no. 3 *
Vogt, Fritz Drawn Home: Fritz Vogt's Rural New York W.Parker Hayes Jr., fall 2000, vol. 25/no. 3 * Walker,Inez Nathaniel Inez Nathaniel Walker:"The More I Draw The Better I Get" Lee Kogan, summer 1997, vol. 22/no. 2 * Ware,Thomas Thomas Ware: Vermont Portrait Painter Arthur Kern and Sybil Kern, winter 1983/84, vol. 9/no. 1
Zeldis, Malcah Malcah Zeldis: Her Life Willa S. Rosenberg, summer 1988, vol. 13/no. 3 * Malcah Zeldis: Her Art Henry Niemann, summer 1988, vol. 13/no. 3 * Zoratti, Silvio Zoratti's Garden Gene Kangas, fall 1992, vol. 17/no. 4 *
Detective Work Lee Kogan, summer 1990, vol. 15/no. 3 Weiss, Noah Noah Weiss: Pennsylvania Folk Whittler Walter M.Ames and Dana W. Fiske, fall 1985, vol. 10/no. 1
AFRICAN AMERICAN FOLK ART African-American Quilts: Tracing the Aesthetic Principles Maude Southwell Wahlman,Ph.D., spring 1989, vol. 14/no. 2 *
R
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African-American Quilts: Two Perspectives Stacy C. Hollander, spring 1993, vol. 18/no. 1 *
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Serl, Jon Jon Serl in Person Susan C. Larsen, winter 1997/98, vol. 22/no. 4 *
Cultural Imprints on the Landscape: Excerpts from Traveling the Rainbow: The Life and Art of Joseph E. Yoakum Derrel B. DePasse, winter 2000/01, vol. 25/no. 4
• Ier A Ay arm.,a A I•••• pose••I"marl.* A Ames RYON. *Wm An* ••••••••• ▪ 1••• tar in ••••• se..•OmblonA ogi• ••• wolte W..Faust.% Ins•141•1 ••••••'new.• weld 110.•ready I(be Imelo• hal Pooh..k•O ON*.ml 'NW.. •••••6,100 Coat we. .1 , wowsml•.• •old.••••••••••••••••7 elA.O. pan.. •Yowl,•••6•11. (1•16-11•1• we.NW Op*,'gusty ▪ • Plimmi..11.1 MO.try.*ow WWI/. It ar1=,and tvz= •NM.
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African-American Visionary Traditions and the Art of Frank Jones Lynne Adele, winter 1990/91, vol. 15/no. 5 *
•
Spring 1997 SUMMER 2001 FOLK ART 63
BASKETS
Another Face of the Diamond: Black Traditional Art from the Deep South Judy McWillie, fall 1987, vol. 12/no. 4
American Baskets Judith A. Jedlicka, spring 1980, vol. 5/no. 2
Black Folk Art: A Unique Blending of Cultures Ellen D. Smith, spring/summer 1983, vol. 8/nos. 2 and 3
Basketmaking in New England: An Interview with a Master Craftsman Chester D. Freeman Jr., fall 1987, vol. 12/no. 4
Cosmograms and Cryptic Writings: "Africanisms" in the Art of Minnie Evans Sharon D. Koota, summer 1991, vol. 16/no. 2 *
Basketmaking on the Island of St. John Bernard A. Kemp,Ph.D., summer 1990, vol. 15/no. 3 *
The Gatekeepers of Culture: On Presenting the Works of African American Self-Taught Artists Randall Morris, winter 1997/98, vol. 22/no. 4 * Harriet Powers' Bible Quilts Dr. Monni Adams, spring 1982, vol. 7/no. 2 Religious Symbolism in AfricanAmerican Quilts Maude Southwell Wahlman, Ph.D., summer 1989, vol. 14/no. 3 * Selected Works by AfricanAmerican Folk Artists: A Recent Installation at The Philadelphia Museum of Art Jack L. Lindsey, winter 1992/93, vol. 17/no. 4 Threads of Evidence: Attributing an Anonymous Quilt to an AfricanAmerican Makerkarl Kusserow, spring 1994, vol. 19/no.! *
Woven for Work: American Baskets Judith A. Jedlicka, winter 1981/82, vol. 7/no. 1
Collecting—It's More Than a Tradition Karl Mendel, winter 1979, vol. 4/no. 4 Collecting Colonial Spanish Art of the Americas James F. Adams, Ph.D., summer 1978, vol. 3/no. 3 Collector's Notes Lucy B. Mitchell, fall 1981, vol. 6/no. 4 From the Mundane to the Miraculous: The Meaning of Folk Art Collecting in America Eugene W. Metcalf Jr., winter 1986/87, vol. 12/no. 1 The Instinct to Collect Anne W.Troutman, winter 1981/82, vol. 7/no. 1
BOTTLES Finding the Missing Man: Carl Womer's Bottle Whimsies Susan D. Jones, spring 2000, vol. 25/no. 1 * The Message in the Bottle B.H. Friedman, fall 1984, vol. 9/no. 4
Recollections: Mostly about Old-Time Prices Jean Lipman, fall 1990, vol. 15/no. 4 * Working With Folk Art: Stars and Stripes All Over Didi Barrett, spring 1990, vol. 15/no. 2 *
COLLECTING American Folk Art in Corporate Collections N.F. Karlins, spring 1988, vol. 13/no. 2 The Artist as Collector Ronald De Silva, summer/fall 1980, vol. 5/nos. 3 and 4
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Spring 1998 64 SUMMER 2001 FOLK ART
Cohen,Barry Art in a Box: The Collection of Barry Cohen Frank J. Miele, fall 1990, vol. 15/no. 4 * Daughters of the American Revolution White Work Bedcoverings at the Daughters of the American Revolution Museum: Marseilles Quilting, Candlewicking and Embroidery 1800-1840 Jean Taylor Frederico, fall 1978, vol. 3/no. 4 Everhart Museum American Folk Art at the Everhart Museum: The Collection of John Law and Rhetta Church Robertson Barbara Rothermel, fall 1993, vol. 18/no. 3 * Garbisch Collection Paintings from The Garbisch Collection: At the Sky Club Jane E. Padwee, fall 1985, vol. 10/no. 4
COLLECTIONS ABCD ABCD:A Collection of Art Brut Jenifer P. Borum, spring 2001, vol. 26/no. 1 * Accorsi, William A Good Friend of the Museum— William Accorsi Dia Stolnitz, winter 1979/80, vol. 5/no. 1
Hemphill, Bert Collected with Passion Lynda Roscoe Hartigan, summer 1990, vol. 15/no. 3 * James,Ardis and Robert Collecting Thoughts: An Interview with Ardis and Robert James Stacy C. Hollander, spring 1993, vol. 18/no. 1 *
Bath Museum American Folk Art in Britain James E. Ayres, fall 1982, vol. 7/no. 4
Kaplan,Alice M. In Pursuit of Harmony: The Alice M. Kaplan Collection Gerard C. Werticin, fall 1995, vol. 20/no. 3
Braman Collection A Midwest Sampler: The Braman Collection David Revere McFadden, winter 1978, vol. 3/no. 1
Kapnek,Theodore H. Gallery of American Samplers: The Theodore H. Kapnek Collection Glee F. Kreuger, fall 1978, vol. 3/no. 4
Conversations with
Dorothea &LeoAnoutlineofthe
Cleveland Museum of Art Tribute to a Tradition: American Folk Art at the Cleveland Museum of Art Gabriel P. Weisberg, winter 1979, vol. 4/no. 4
Nelson, Cyril I. Cyril I. Nelson: A Special Museum Friend Elizabeth V. Warren, spring 1988, vol. 13/no. 2 *
Winter 1987 Keene, Mr. and Mrs. James 0. The Keene Eye: Selections from the American Folk Art Collections of Mr. and Mrs. James 0. Keene Charlotte M. Emans, spring/summer 1984, vol. 9/nos. 2 and 3 Little, Nina Fletcher Nina Fletcher Little: Bridging the Worlds of Antiques and Folk Art Ruth Wolfe, summer 1997, vol. 22/no. 2 * Long Island Historical Society Brooklyn Before the Bridge Elizabeth Mankin Kornhauser, winter 1981/82, vol. 7/no. 1 Los Angeles County Museum of Art Objects and Origins: The American Quilt Research Center at the Los Angeles County Museum of Art Sandi Fox, fall 1987, vol. 12/no. 4 Marcus, Robert and Betty Acquiring Masterworks: The Robert and Betty Marcus Collection David W. Courtney, spring/summer 1984, vol. 9/nos. 2 and 3 Museum of International Folk Art Dias de Mas, Dias de Menos: An Exhibition of Spanish New Mexican Folklife at the Museum of International Folk Art, Santa Fe, New Mexico Christine R. Mather, winter 1978, vol. 3/no. 1 Nadelman, Elie and Viola Pioneers in Folk Art Collecting: Elie and Viola Nadelman Christine I. Oaldander, fall 1992, vol. 17/no. 3 *
An Engagement with Folk Art: Cyril I. Nelson's Gifts to the Museum Elizabeth V. Warren, fall 2000, vol. 25/no. 3 * Philadelphia Museum of Art Selected Works by AfricanAmerican Folk Artists: A Recent Installation at the Philadelphia Museum of Art Jack L. Lindsey, winter 1992/93, vol. 17/no. 4 Rabkin,Dorothea and Leo Adventures in Folkcarving Leo Rabkin, summer/fall 1980, vol. 5/nos. 3 and 4 Conversations with Dorothea & Leo: An Outline of the Rabkin Collection Rosemary Gabriel, spring 1998, vol. 23/no. 1 *
United States Tobacco Museum The United States Tobacco Museum Jane Nobes Brennan, spring 1979, vol. 4/no. 2
COLLECTIONS OF THE AMERICAN FOLK ART MUSEUM
Warhol,Andy Andy Warhol's Folk & Funk, One Viewer's View Julia Weissman, winter 1978, vol. 3/no. 1
American Diversity: Selections from the Permanent Collection Stacy C. Hollander, fall 1993, vol. 18/no. 3 *
Wigton, William and Dede Continuity and Change: Amish Quilts From The William and Dede Wigton Collection of the Museum of American Folk Art Elizabeth Warren, winter 1984/85, vol. 10/no. 1 Wiltshire, Mr. and Mrs. William E. American Folk Painting: Selections from the Collection of Mr. and Mrs. William E. Wiltshire III Mary Black, winter 1978, vol. 4/no. 2
An American Treasury: Quilts from the Museum of American Folk Art Elizabeth V. Warren and Sharon L. Eisenstat, summer 1996, vol. 21/no. 2 * Building for the Future Stacy C. Hollander, spring 1999, vol. 24/no. 1 * The Chalk Menagerie Suzanne Feldman and Rowenna Pounds, spring 1982, vol. 7/no. 2 Continuity and Change: Amish Quilts From the William and Dede Wigton Collection of the Museum of American Folk Art Elizabeth Warren, winter 1984/85, vol. 10/no. 1
New Worldâ&#x20AC;&#x201D;Freedom Dorothy Rabkin, summer/fall 1980, vol. 5/nos. 3 and 4 Whirligigs, Windtoys and Woodcarvings: Promised Bequests from the Collection of Leo and Dorothy Rabkin Patricia L. Coblentz, summer/fall 1980, vol. 5/nos. 3 and 4
CHILD WITH A BASKET / artist unknown / Mount Vernon, Kennebec County, Maine / C. 1815 / oil on wood panel /34 me / American Folk Art Museum, gift of Alice M. Kaplan, 1977.13.1
Siegel, Randy Collecting Thoughts: An Interview with Randy Siegel, Atlanta Beth Bergin and Chris Cappiello, fall 1992, vol. 17/no. 3 * Thixton Arthur, Effie A Good Friend of the Museumâ&#x20AC;&#x201D; Effie Thixton Arthur Jean Lipman, spring 1980, vol. 5/no. 2
*Indicates that this issue is available for sale at $6 per copy. Add $3 postage and handling for the first copy,$1 postage and handling for each additional copy. SUMMER 2001 FOLK ART 85
A Collector's Guide to Fish Decoys Lori Segal Zabar, fall 1986, vol. 11/no. 40* Fish Decoys: A Native American Craft Ben Apfelbaum, winter 1989/90, vol. 15/no. 1 *
PORTRAIT OF MARIE IN SWEATER AND PEARLS!Eugene Von Bruenchenhein / Milwaukee / c. 1940s / hand-tinted gelatin silver print / 10 8"/ American Folk Art Museum, gift of Lewis and lean Greenblatt, 2000.1.17
Seymour Rosen and Spaces: Saving Our Sites Elaine'Wintman, winter 1987/88, vol. 13/no. 1 Zoratti's Garden Gene Kangas, fall 1992, vol. 17/no. 4 *
Gentlemen Carvers of Connecticut Dixon Merkt, spring 1980, vol. 5/no. 2
FRAKTUR
The Hunt for the Decoy Adele Earnest, fall 1975, vol. 1/no. 5
Records of Passage: New England Illuminated Manuscripts in the Fraktur Tradition Philip Isaacson, winter 1980/81, vol. 6/no. 1
Portraits in Wood Julie Hall, summer 1977, vol. 2/no. 3
The Watercolors of Durs Rudy: New Discoveries in Fraktur Gerard C. Werticin, summer 1993, vol. 18/no. 2
ENVIRONMENTS
Expressions of Trust: Recent Gifts to the Museum of American Folk Art Stacy C. Hollander, summer 1995, vol. 20/no. 2 * Gifts of Marquetry from the Hirschhorn Foundation to Cite Museum of American Folk Art Richard Miihlberger, fall 1998, vol. 23/no. 3 * The Museum Collects: New Directions, New Accessions Joyce Hill and Cynthia Sutherland, fall 1983, vol. 8/no. 4 Museum Quality: Quilts in the Collection of the Museum of American Folk Art Elizabeth V. Warren, spring/summer 1986, vol. 11/nos. 2 and 3 * Paint, Powder, and Leaf: A Brief History of the Historical Society of Early American Decoration Margaret Coffin, summer 1991, vol. 16/no. 2 * A Pictorial Guide to the Permanent Collection Adele Earnest, mid-summer 1978, vol. 3/no. 3
The Rosenak Archives at the Museum of American Folk Art Lee Kogan, summer 2000, vol. 25/no. 2 * Ten Years of the America Collection Alice J. Hoffman, spring 1990, vol. 5/no. 2 * Whirligigs, Windtoys and Woodcarvings: Promised Bequests from the Collection of Leo and Dorothy Rablcin Patricia L. Coblentz, summer/fall 1980, vol. 5/nos. 3 and 4
DECOYS The American Decoy Jeff Waingrow, fall 1981, vol. 6/no. 4 Charley Schoenheider's Canada Goose Decoys Merle H. Glick, winter 1978, vol. 3/no. 1
A Conservation Crisis: The Work of Felix "Fox" Harris, A Case Study Lynn P. Castle, spring 1994, vol. 19/no. 1 * Environments in Crisis Daniel C. Prince, winter 1987/88, vol. 3/no. 1 Environmental Folk Art: An Ancient Tradition in a Modern World Julia Weissman, winter 1982/83, vol. 8/no. 1 Holy Land, USA Alan I. Ludwig, summer 1979, vol. 4/no. 3 Howard Finster's Paradise Garden: A Plan for the Future Daniel C. Prince, winter 1987/88, vol. 13/no. 1 Living in a Brooklyn Folk Environment [Furey House] Lee Kogan, spring 1990, vol. 15/no. 2 * St. EOM's Pasaquan: A Promising Future Tom Patterson, winter 1988, vol. 13/no. 1 *
Where's the Cow? A New Look at Motifs on American Fraktur Russell and Corinne Earnest, winter 2000/01, vol. 25/no. 4 *
FURNITURE Fanciful Graining: Tools of the Trade Sandra Tarbox, fall 1981, vol. 6/no. 4 Hosea Hayden: Homilies to Sit Upon Angie Mills, fall 1994, vol. 19/no. 3 * New England Paint-Decorated Chests: Discoveries of Attributions David Krashes, summer 2000, vol. 25/no. 2 * The Romance of a Relic: Sam Colt's Charter Oak Relic Furniture William Hosley, fall 1996, vol. 21/no. 3 * Southern Comfort: The Chairs of Richard Dial Kathleen A. Connors, fall 1994, vol. 19/no. 3 * The Thrones and Chairs Leroy Person Made Everett Mayo Adelman,fall 1994, vol. 19/no. 3 *
*Indicates that this issue is available for sale at $6 per copy. Add $3 postage and handling for the first copy,$1 postage and handling for each additional copy. 60 SUMMER 2001 FOLK ART
Two "New" Eighteenth-Century Grisaille Kasten Firth Haring Fabend, spring/summer 1981, vol. 6/nos. 2 and 3
Visiones Del Pueblo: The Folk Art of Latin America Dr. Marion Oettinger Jr., fall 1992, vol. 17/no. 3 *
Two-Toned Finishes: American Grain-Painted Furniture, 1790-1880 Cynthia V.A. Schaffner and Susan Klein, spring 1998, vol. 23/no. 1 *
Netherlands A Tribute to Dutch Arts and Culture Mary Black, winter 1986/87, vol. 12/no. 1
What Makes Shaker Furniture Shaker? Karl Mendel, fall 1979, vol. 4/no. 4
HISTORY OF THE MUSEUM
Fall 1994
The Museum at Twenty: Challenges and Perspectives Gerard C. Wertkin, fall 1981, vol. 6/no. 4
Bert Julia Weissman, fall 1998, vol. 23/no. 3 *
The Museum at Forty: Four Decades of Achievement Gerard C. Werticin, summer 2001, vol. 26/no. 2*
Bob Bishop: A Life in American Folk Art Cyril I. Nelson, spring 1993, vol. 18/no. 1 *
A Pictorial Guide to the Permanent Collection Adele Earnest, mid-summer 1978, vol. 3/no. 3
Dr. Robert Bishop (1938-1991): A Personal Memoir Gerard C. Werticin, winter 1991/92, vol. 6/no. 4
INTERNATIONAL FOLK ART
Herbert Waide Hemphill Jr. 1929-1998 Tanya Heinrich, fall 1998, vol. 23/no. 3 *
Canada The Discovery of Thomas MacDonald: Canada's Elusive Portrait Painter Michael Bird and Terry Kobayashi, winter 1987/88, vol. 13/no. 1
The History of the Museum of American Folk Art: An Illustrated Timeline Alice J. Hoffman, winter 1988/89, vol. 14/no. 1 *
From Quebec: Three Ways of Looking N.F. Karlins, spring 1997, vol. 22/no. 1 *
Denmark European Folk Art Museums: Denmark: Focus on Dansk Folkemuseum and Frilandsmuseet in Copenhagen C. Kurt Dewhurst and Marsha MacDowell, winter 1979/80, vol. 5/no. 1 Finland Folk Arts in Finland: Focus on the National Museum of Finland and Seurasarri Outdoor Museum of Helsinki Marsha MacDowell and C. Kurt Dewhurst, spring/summer 1981, vol. 6/nos. 2 and 3 France A Visit to L'Aracine: A Museum of Art Brut N.F. Karlins, winter 1992/93, vol. 17/no. 4 Japan Kanban: Shop Signs in Japan Lea Sneider and Alexandra K. Munroe, spring/summer 1983, vol. 8/nos. 2 and 3
J. Russell Harper, 1914-1983: Canada's Pioneer Art Historian James T. Wills, spring/summer 1984, vol. 9/nos. 2 and 3
Korea Auspicious Spirits: Korean Folk Paintings and Related Objects Lea Sneider, winter 1983/84, vol. 9/no. 1
China Qian Zhi: Treasures from the Golden Venture Dale Gregory, summer 1996, vol. 21/no. 3 *
Latin America The Saint Makers of Puerto Rico Alan Moss Reveron and Liz O'Brien, winter 1991/92, vol. 16/no. 4 Santos De Palo: The Household Saints of Puerto Rico Yvonne Lange, winter 1991/92, vol. 16/no. 4
Norway European Folk Art Museums: Folk Arts In Norway: Focus on Norsk Folkemuseum in Oslo Marsha MacDowell and C. Kurt Dewhurst, spring 1980, vol. 5/no. 2 Norwegian Folk Art: The Migration of a Tradition Stacy C. Hollander, fall 1995, vol. 20/no. 3 Sweden Folk Arts in Sweden C. Kurt Dewhurst and Marsha MacDowell, summer 1979, vol. 4/no. 3 Switzerland Baking Molds in Lucerne Margarete Pfister-Burkhalter, fall 1991, vol. 16/no. 3 * Engadine Wall Pockets and Embroidery Jenny Schneider, fall 1991, vol. 6/no. 3 * The Poyas of Gruyere Denis Buchs, fall 1991, vol. 16/no. 3 Rural Calligraphy in Swiss Everyday Life Hildegard Gantner-Schlee, fall 1991, vol. 16/no. 3 * Swiss Folk Art: Celebrating America's Roots Cynthia Elyse Rubin, fall 1991, vol. 16/no. 3 * Vanoni: King of Ex Voto Paintings Giulio Foletti, fall 1991, vol. 16/no. 3 * The Wisconsin Swiss: A Portrait Ernest Menolfi & Leo Schelbert, fall 1991, vol. 16/no. 3 *
Winter 1992/93 SUMMER 2001 FOLK ART 87
American Gardens
Quilts MARITIME James and John Bard, Ship Painters of the Hudson River Jean Lipman, summer 1977, vol. 2/no. 3 The City of Ships A.J. Peluso Jr., summer/fall 1980, vol. 5/nos. 3 and 4 Cross Currents: Faces, Figureheads and Scrimshaw Fancies Joyce Hill, spring/summer 1984, vol. 9/nos. 2 and 3
Design and Cultural Analysis of Chilkat Dancing Blankets Julia Arvin, winter 1992/93, vol. 17/no. 4
Albums, Artizans & Oddfellows: The Classic Age of American Quilts Elly Sienlciewicz, spring 1994, vol. 19/no. 1 *
Navajo Pottery: A New Twist on an Old Tradition Chuck Rosenak, summer 1988, vol. 13/no. 3 *
American Masonic Ritual Paintings William D. Moore, winter 1999/2000, vol. 4/no. 4 *
PHOTOGRAPHY
Arizona Folk Art Recalls History of Papago Indians Eloise David and Marcia Spark, fall 1978, vol. 3/no. 4
• Cox Crea,
Fish Decoys: A Native American Craft Ben Apfelbaum, winter 1989/90, vol. 15/no. 1 *
MASONIC FOLK ART
NATIVE AMERICAN FOLK ART
By Suw Curi,
The Dog Soldier Artists: Plains Indian Ledger Drawings Jean Afton, fall 1989, vol. 14/no. 4 *
Native Quilting: A Long and Enduring Tradition Marsha L. MacDowell, spring 2001, vol. 26/no. 1*
Decorated Masonic Aprons: A Rediscovered Folk Art Barbara Franco, winter 1980/81, vol. 6/no. 1
Design Parallels and Preferences in the Nineteenth Century
Daguerreotypes as Folk Art Julian Wolff, fall 1986, vol. 11/no. 4 * Flashes of the Soul, Photography Vs. Painting Roderic H. Blackburn, winter 1978, vol. 3/no. 1 Photographic Folk Art: Nineteenthand Twentieth-Century HandColored Photographs Addison Thompson and Lesa Westerman, summer 1993, vol. 18/no. 2 Shaker Stereo Views Cynthia Elyce Rubin, winter 1978, vol. 3/no. 1
POTTERY Connecticut's Potter Mead: A Legacy in Stoneware Jeanne Marie Carley, winter 1988, vol. 13/no. 1 *
Spring 1994 Navajo Pottery: A New Twist on an Old Tradition Chuck Rosenak, summer 1988, vol. 13/no. 3 * The Rulloff"Gallows" Jug, or, A Murderous Saga Unfolds on a Piece of Stoneware Steven B. Leder, winter 1986/87, vol. 12/no. 1
QUILTS AND oacILTMAKING
Anonymous Beauty: Quilts, Coverlets, Bedcovers: Textiles from Two Centuries—Museum of American Folk Art Dr. Judith Reiter Weissman, spring/summer 1981, vol. 6/nos. 2 and 3
African-American Quilts: Tracing the Aesthetic Principles Maude Southwell Waldman, Ph.D, spring 1989, vol. 14/no. 2 *
Citiquilts: Quilting in an Urban Environment Paula Nadelstern, spring 1991, vol. 16/no. 1 *
African-American Quilts: Two Perspectives Stacy C. Hollander, spring 1993, vol. 18/no. 1 *
Collecting Children's Quilts: The Lure of the Chase Linda Berman and Irwin Berman, summer 1979, vol. 4/no. 3
Albums, Artizans & Oddfellows: The Classic Age of American Quilts Elly Sienkiewicz, spring 1994, vol. 19/no. 1 *
Collecting Thoughts: An Interview with Ardis & Robert James Stacy C. Hollander, spring 1993, vol. 18/no. 1 *
American Gardens and Quilts: Design Parallels and Preferences in the Nineteenth Century Susan Curtis, Carolyn Ducey, Patricia Cox Crews, spring 2000, vol. 25/no. 1 *
Conservation Profile Patty Orlofsky and Phyllis Dillon, spring/summer 1986, vol. 11/nos. 2 and 3 *
An American Treasury: Quilts from the Museum of American Folk Art Elizabeth V. Warren and Sharon L. Eisenstat, summer 1996, vol. 21/no. 2 * Amish Quilts in the Museum of American Folk Art Elizabeth V. Warren, summer 1999, vol. 24/no. 2 *
Fall 1996 68 SUMMER 2001 FOLK ART
Anonymous Beauty: Quilts, Coverlets, and Bedcovers: Textiles from Two Centuries—Fashion Institute of Technology Jo Giese Brown, spring/summer 1981, vol. 6/nos. 2 and 3
Continuity and Change: Amish Quilts from the William and Dede Wigton Collection of the Museum of American Folk Art Elizabeth Warren, winter 1985, vol. 10/no. 1
Crazy Patchwork: A Victorian Mania Judith Reiter Weissman,fall 1986, vol. 11/no. 4 *
Liberties with Liberty: The Changing of an American Symbol Nancy Jo Fox, winter 1985/86, vol. 11/no. 1
Design Origins of Amish Quilts Elizabeth Safanda, spring 1979, vol. 4/no. 2
Many Hands: The Story of an Album Quilt Paula Laverty, spring 1993, vol. 18/no. 1 *
Diversity & Continuity: The Great American Quilt Festival 4 Cathy Rasmussen, spring 1993, vol. 18/no. 1 * Edge to Edge: Selections from Studio Art Quilt Associates Stacy C. Hollander, summer 1998, vol. 23/no. 2 * The Fabric of One Family: A Saga of Discovery Mimi Sherman, spring 1989, vol. 14/no. 2 * Harriet Powers' Bible Quilts Dr. Monni Adams, spring 1982, vol. 7/no. 2 A Hawaiian Legacy Julia Steele, spring/summer 1986, vol. 11/nos. 2 and 3 * Hawaiian Quilts Thomas K. Woodard and Blanche Greenstein, summer 1979, vol. 4/no. 3 Hawaiian Quilts: A NineteenthCentury Myth Dispelled Elizabeth A. Akana, summer 1997, vol. 22/no. 2 * Highlights of the Great American Quilt Festival 2 Cathy Rasmussen, spring 1989, vol. 14/no. 2 * Highlights of the Great American Quilt Festival 3 Cathy Rasmussen, spring 1991, vol. 16/no. 1 * Hmong and Pennsylvania German Textiles: Needlework Traditions in Transition in Lancaster County Jean Henry, summer 1995, vol. 20/no. 2 *
Museum Quality: Quilts in the Collection of the Museum of American Folk Art Elizabeth V. Warren, spring/summer 1986, vol. 11/nos. 2 and 3 * New York Beauties...All: The New York Quilt Project Phyllis A. Tepper, spring 1992, vol. 17/no. 1 * Objects and Origins: The American Quilt Research Center at the Los Angeles County Museum of Art Sandi Fox,fall 1987, vol. 12/no. 4 The Public Quilt Julia Koenig, spring/summer 1986, vol. 11/nos. 2 and 3 *
Quilting Today: A Roundup of Contemporary Textile Exhibitions at the Festival Karla Friedlich, spring/summer 1986, vol. 11/nos. 2 and 3 *
Threads of Evidence: Attributing an Anonymous Quilt to an AfricanAmerican Maker Karl Kusserow, spring 1994, vol. 19/no. 1 *
Religious Symbolism in AfricanAmerican Quilts Maude Southwell Wahlman,Ph.D. summer 1989, vol. 14/no. 3 *
White Work Bed Coverings at the Daughters of the American Revolution Museum: Marseilles Quilting, Candlewicking, and Embroidery 1800-1840 Jean Taylor Frederico, fall 1978, vol. 3/no. 4
The Search for Emeline Barker Deborah Lyttle Ash, winter 1994/95, vol. 19/no. 4 * Show Quilts: The Collection of the Museum of American Folk Art Elizabeth V. Warren, spring 1995, vol. 20/no. 1 * Small Sensations Sharon L. Eisenstat, spring/summer 1986, vol. 11/nos. 2 and 3 *
The Whitney and After...What's Happened to Quilts Jonathan Holstein, spring/summer 1986, vol. 11/nos. 2 and 3 * Working With Folk Art: Stars and Stripes All Over Didi Barrett, spring 1990, vol. 15/no. 2 *
The Strip Tradition in EuropeanAmerican Quilts Barbara Bracicman, fall 1989, vol. 14/no. 4 *
Quilts of Conscience: Quilts Are Made for More than Warmth Karla Friedlich, spring 1991, vol. 16/no. 1 * Quilt Dealer to the Stars Didi Barrett, spring/summer 1986, vol. 11/nos. 2 and 3 * The Quilt Legacy of Elizabeth, New Jersey Lee Kogan, winter 1989/90, vol. 15/no. 1 * The Quilt Projects: Fifteen Years Later Shelly Zegart, spring 1996, vol. 21/no. 1 * Quilt Revival 1910-1950: The Collection of the Museum of American Folk Art Elizabeth V. Warren and Sharon L. Eisenstat, spring 1997, vol. 22/no. 1 * STAR QUILT / Nora Ezell / Eutaw, Green County, Alabama / 1977 / cotton and synthetics! 94 â&#x20AC;˘â&#x20AC;˘ 79"/ American Folk Art Museum, museum purchase made possible in part by a grant from the National Endowment for the Arts, with matching funds from the Great American Quilt Festival 3, 1991.13.1
*Indicates that this issue is available for sale at $6 per copy. Add $3 postage and handling for the fir I copy,$1 postage and handling for each additional copy. SUMMER 2001 FOLK ART 69
New Mexican Hispano Animal Carving in Context: Animal Woodcarvers in Northern New Mexico Speak about their Art Dana Everts-Boehm and Jeanette De Bouzelc, summer 1991, vol. 16/no. 2 * New Mexican Textiles: A Contemporary Weaver Unravels Historic Threads Maria Vergara Wilson, fall 1988, vol. 13/no. 4 *
41.110111MINsmomm GIFT DRAWING: THE TREE OF LIGHT or BLAZING TREE / Hannah Cohoon / Hancock, Berkshire County, Massachusetts /1845 / ink, pencil, and gouache on paper / 16 207/6"/ American Folk Art Museum, promised gift of Ralph Esmerian, P2.1997.1
The New York Shakers and Their Dwelling Places Dr. C. Eugene Kratz, fall 1979, vol. 4/no. 4 Olaf ICrans of Bishop Hill Colony [Illinois] Anna Wadsworth Murray, spring/summer 1981, vol. 6/nos. 2 and 3
REGIONAL FOLK ART Animal Carvers of New Mexico Elizabeth Wecter, winter 1985/86, vol. 11/no. 1 Dias de Mas, Dias de Menos: An Exhibition of Spanish New Mexican Folklife at The Museum of International Folk Art, Santa Fe, New Mexico Christine R. Mather, winter 1978, vol. 3/no. 1 Drawn Home: Fritz Vogt's Rural New York W.Parker Hayes Jr., fall 2000, vol. 25/no. 3 * Emil "Maier" Kym,Great Plains Folk Artist Steve Freisen, fall 1978, vol. 3/no. 4 Empire State Mosaic: The Folk Art of New York Paul S. D'Atnbrosio, winter 1999/2000, vol. 24/no. 4 * Folk Art: The View from New York William C. Ketchum, summer/fall 1980, vol. 5/nos. 3 and 4
The Folk Spirit of Albany Tammis Groft, summer 1978, vol. 3/no. 3
Pioneers in Paradise [California] Susan Larsen-Martin, spring/ summer 1985, vol. 10/nos. 2 and 3
Southern Exposure: One Curator in Search of an Exhibition [Southeast] Cynthia Elyce Rubin, spring/ summer 1985, vol. 10/nos. 2 and 3 Striding Out on Their Own: Folk Art and Northern California Artists Meredith Tromble and John Turner, summer 1988, vol. 13/no. 3 * Three Centuries of Connecticut Folk Art Alexandra Grave, summer 1978, vol. 3/no. 3 The Wisconsin Swiss: A Portrait Ernest Menolfi and Leo Schelbert, fall 1991, vol. 16/no. 3 * The World of Olaf Krans [Illinois] Merle H. Glick, fall 1982, vol. 7/no. 4
SCULPTURE AND CARVING Adventures in Folkcarving Leo Rabkin, summer/fall 1980, vol. 5/nos. 3 and 4
Plains People/Common Wealth: North Dakota Folk Art Patrice Avon Marvin and Nicholas Curchin Vrooman, winter 1980/81, vol. 6/no. 1
American Folk Canes George H. Meyer, summer 1992, vol. 17/no. 2 *
Iron Spirits: Decorative Crosses on the North Dakota Plains Patrice Avon Marvin and Nicholas Curchin Vrooman, spring/summer 1983, vol. 8/nos. 2 and 3
Plain Painters John Michael Vlach, summer 1988, vol. 13/no. 3 *
American Primitive Roger Ricco & Frank Maresca, fall 1988, vol. 13/no. 4 *
Prairie Folk [Illinois] Merle H. Glick, winter 1981/82, vol. 7/no. 1
Animal Carvers of New Mexico Elizabeth Wecter, winter 1985/86, vol. 11/no. 1
Ljuskroner: They Are Still in Kansas Mark Esping, winter 1990/91, vol. 15/no. 5 *
Rainbows in the Sky [Michigan] C. Kurt Dewhurst and Marsha MacDowell, spring 1979, vol. 4/no. 2
Art of the Weathervane Ralph Sessions, winter 1979/80, vol. 5/no. 1
Made in New York State: HandWoven Coverlets, 1820-1860 Virginia Parslow Partridge, winter 1984/85, vol. 10/no. 1
The Rediscovered Folk Art Tradition of Rio Grande Textiles Alexandra de Lallier, winter 1985, vol. 10/no. 1
The Midwestern Corn Palaces: A "Maize" of Detail and Wonder Cynthia Elyce Rubin, fall 1983, vol. 8/no. 4
Selling Sand and Sea: Sand Sculptors and the Development of the Atlantic City Resort (1897-1944)[New Jersey] Holly Metz, summer 1992, vol. 17/no. 2 *
Four from Coal Country: Friendships and the Contemporary Folk Artist [Pennsylvania] N.F. Karlins, spring/summer 1987, vol. 12/nos. 2 and 3
n 70 SUMMER 2001 FOLK ART
Winter 1996
—.r Conversations with Dorothea & Leo: An Outline of the Rabkin Collection Rosemary Gabriel, spring 1998, vol. 23/no. 1 *
Windmill Weights: Sculpture in the Midwestern Sky Milt Simpson, fall 1985, vol. 10/no. 4
Grave Portraits Francis Y. Duval and Ivan B. Rigby, spring 1982, vol. 7/no. 2
SHAKER FOLK ART
The Image Business: Shop and Cigar Store Figures in America Ralph Sessions, winter 1996/97, vol. 21/no. 4 *
,N11,11(
The Flame is Never Ceasing: Continuity in Shaker Life at Sabbathday Lake Gerard C. Wertkin, fall 1979, vol. 4/no. 4
Iron Spirits: Decorative Crosses on the North Dakota Plains Patrice Avon Marvin and Nicholas Curchin Vrooman, spring/summer 1983, vol. 8/nos. 2 and 3
"Given by Inspiration": Shaker Drawings and Manuscripts in the American Society for Psychical Research Gerard C. Wertkin, spring 1995, vol. 20/no. 1 *
Marriage Milestones: Tenth Wedding Anniversary Tin Nancy Clokey and James D. Clokey III, winter 1984/85, vol. 10/no. 1
The New York Shakers and Their Dwelling Places Dr. C. Eugene Kratz, fall 1979, vol. 4/no. 4
New Mexican Hispano Animal Carving In Context: Animal Woodcarvers in Northern New Mexico Speak about their Art Dana Everts-Boehm and Jeanette De Bouzek, summer 1991, vol. 16/no. 2 *
Shaker Industries Cynthia Elyce Rubin, fall 1979, vol. 4/no. 4
The Saint Makers of Puerto Rico Alan Moss Reveron and Liz O'Brien, winter 1991/92, vol. 16/no. 4
What Makes Shaker Furniture Shaker? Karl Mendel,fall 1979, vol. 4/no. 4
Santos De Palo: The Household Saints of Puerto Rico Yvonne Lange, winter 1991/92, vol. 16/no. 4 The Shape of Things: Folk Sculpture from Two Centuries Mary Ann Demos, winter 1982/83, vol. 8/no. 1 Uncle Sam: His Portrayal in American Folk Sculpture Jane Walentas, winter 1982/83, vol. 8/no. 1 Whirligigs, Windtoys and Woodcarvings: Promised Bequests from the Collection of Leo and Dorothy Rabkin Patricia L. Coblentz, summer/fall 1980, vol. 5/nos. 3 and 4
Shaker Stereo Views Cynthia Elyce Rubin, winter 1978, vol. 3/no. 1
SILHOUETTES The Art of the Silhouettist Blume J. Rifken, fall 1987, vol. 12/no. 4 Of Shade Cutters and Silhouettes E. Jane Townsend, winter 1979, vol. 4/no. 4
TEXTILES AND BEDCOVERINGS American Pillowcases Jack T. Ericson, winter 1979, vol. 4/no. 4
Spring 2000 Anonymous Beauty: Quilts, Coverlets, and Bedcovers: Textile Treasures from Two Centuries— Fashion Institute of Technology Jo Giese Brown, spring/summer 1981, vol. 6/nos. 2 and 3 Anonymous Beauty: Quilts, Coverlets, and Bedcovers: Textile Treasures from Two Centuries— Museum of American Folk Art Dr. Judith Reiter Weissman, spring/summer 1981, vol. 6/nos. 2 and 3 A Collector's Guide to Coverlets: A Review of the Basics Martha Leversuch, spring 1991, vol. 16/no. 1 * Design and Cultural Analysis of Chilkat Dancing Blankets Julia Arvin, winter 1992/93, vol. 17/no. 4 Edward Sands Frost and His Historic Hooked Rug Patterns Dr. Robert Bishop, summer 1977, vol. 2/no. 3
Made in New York State: HandWoven Coverlets, 1820-1860 Virginia Parslow Partridge, winter 1985, vol. 10/no. 1 New Mexican Textiles: A Contemporary Weaver Unravels Historic Threads Maria Vergara Wilson, fall 1988, vol. 13/no. 4 * The Rediscovered Folk Art Tradition of Rio Grande Textiles Alexandra de Lallier, winter 1985, vol. 10/no. 1 Save Your Old Silk Stockings: The Hooked Mats of the Grenfell Mission Paula Laverty, winter 1993/94, vol. 18/no. 4 Will the Real James Alexander Coverlets Please Stand Up Rabbit Goody, spring 1992, vol. 17/no. 1
TINSEL PAINTING
Engadine Wall Pockets and Embroidery Jenny Schneider, fall 1991, vol. 16/no. 3 *
Shimmering and Brilliant: American Victorian Tinsel Paintings Marilyn G. Karmason, winter 1991/92, vol. 16/no. 4
Gallery of American Samplers: The Theodore H. Kapnek Collection Glee F. Krueger, fall 1978, vol. 3/no. 4
Tinsel Pictures Jean Krolik, summer 1977, vol. 2/no. 3
John Brewster, Jr.: An Artist for the Needleworker Davida Tenenbaum Deutsch, fall 1990, vol. 15/no. 4 *
TOYS AND DOLLS America's Folk Toys Wendy Lavitt, winter 1980/81, vol. 6/no. 1
*Indicates that this issue is available for sale at $6 per copy. Add $3 postage and handling for the first copy, $1 postage and handling for each additional copy. SUMMER 2001 FOLK ART 71
The Art of the Contemporary Doll Wendy Lavitt and Krystyna Poray Goddu, summer 1996, vol. 21/no. 2 *
he Flustering Truth of Sideshow Banner Art kid n 101 1110
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Phrenological Associations: Footnotes to the Biographies of Two Folk Artists Mary Black, fall 1984, vol. 9/no. 4
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Children's Children: American Folk Dolls Wendy Lavitt, fall 1983, vol. 8/no. 4
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Winning Moves: Painted Gameboards of North America Doranna Wendel and Bruce Wendel, winter 1985, vol. 10/no.1
TRADE ROAD, AND SHOP SIGNS America's Roadside Attractions: From Commerce to Camp Cynthia Sutherland, winter 1982/83, vol. 8/no. 1 The Image Business: Shop and Cigar Store Figures in America Ralph Sessions, winter 1996/97, vol. 21/no. 4 * Kanban: Shop Signs in Japan Lea Sneider and Alexandra K. Munroe, spring/summer 1983, vol. 8/nos. 2 and 3 New Discoveries in House, Sign and Fancy Painting Jacquelyn Oak, fall 1982, vol. 7/no. 4 Signs of the Times Salvatore G. Cilella Jr., summer 1978, vol. 3/no. 3 William Rice: At the Sign of the Lion Susan P. Schoelwer, spring 2001, vol. 26/no. 1 *
Perspectives on American Folk Art Nina Howell Starr, spring 1979, vol. 4/no. 2
Fall 1998
A Place for Us: Vernacular Architecture in American Folk Art Stacy C. Hollander, fall 1996, vol. 21/no. 3 *
The American Copper Tea Kettle Henry J. Kauffman, winter 1983/84, vol. 9/no. 1
Folk Art: The Heart of America Elaine Eff, summer 1978, vol. 3/no. 3
Apothecary & Antecedents: History in American Folk Art Arthur Kern and Sybil Kern, winter 1995/96, vol. 20/no. 4
The Jewish Heritage in American Folk Art Gerard C. Wertkin, fall 1984, vol. 9/no. 3
The Search for Young America Mary Ann Demos, fall 1986, vol. 11/no. 4 *
The Art of Scherenschnitte Rowenna Pounds, spring 1982, vol. 7/no. 2
Looking Back, Looking Forward: Ten Years of Folk Art Studies at New York University Marie Luise Proeller, summer 1993, vol. 18/no. 2
Self-Taught Artists of the 20th Century: An American Anthology & Perspectives on Patterning Stacy C. Hollander, spring 1998, vol. 23/no. 1 *
The Merchant and the Museum: Reproducing American Folk Art Ernest S. Quick, mid-summer 1978, vol. 3/no. 3
On Some Little-Known Miniature Portraits by Well-Known American Folk Painters Arthur Kern and Sybil Kern, spring 1995, vol. 20/no. 1 *
Artists' Artists: The Instructive Relationship between Self-Taught and Academically Trained Artists Jenifer P. Borum, winter 2000/01, vol. 25/no. 4 * Beyond Belief: The Flustering Truth of Sideshow Banner Art Michael McCabe, fall 1998, vol. 23/no. 3 * Brick-End Barns: A Folk Architectural Form Rediscovered Carl Palusci, winter 1985/86, vol. 11/no. 1 Butter Molds and Prints Paul E. Kindig, fall 1982, vol. 7/no. 4
MISCELLANEOUS
The Christmas Fires of St. James Parish William A. Fagaly, winter 1995/96, vol. 20/no. 4
The All-American Dogâ&#x20AC;&#x201D;Man's Best Friend in Folk Art Dr. Robert Bishop, winter 1978, vol. 3/no. 1
A Conservation Crisis: The Work of Felix "Fox" Harris, A Case Study Lynn P. Castle, spring 1994, vol. 19/no. 1 *
An American Birthday Card: Old Glory in Folk Art summer 2001, vol. 26/no. 2 *
Flash & Flashbacks: The Enduring Art of Tattoo Michael McCabe,summer 1994, vol. 19/no. 2
Plain Painters John Michael Vlach, summer 1988, vol. 13/no. 3 *
Millennial Dreams: Vision and Prophecy in American Folk Art Gerard C. Wertkin, fall 1999, vol. 24/no. 3 *
Stencil Decoration Robert Somers, winter 1979/80, vol. 5/no. 1
Mourning the Children: An Interpretation of the Symbols in Two Posthumous Portraits Barbara Rothermel, winter 1997/98, vol. 22/no. 4 *
They Taught Themselves: An Interview with Roger Ricco & Frank Maresca Jenifer P. Borum, fall 1993, vol. 18/no. 3 *
Naive Artâ&#x20AC;&#x201D;An Overview Eva-Maria Wothington, fall 1978, vol. 3/no. 4
A Time to Reap: Late Blooming Folk Artists Didi Barrett, fall 1985, vol. 10/no. 4
New Museum Encyclopedia Shatters Myths Lee Kogan, winter 1990/91, vol. 15/no. 5 *
A Tooth for a Tooth: The Dentist in American Folk Art Arthur and Sybil Kern, spring 1999, vol. 24/no. 1 *
The New Year's Cake Print: A Distinctively American Art Form William Woys Weaver, fall 1989, vol. 14/no. 4 *
The Tree of Life John Davison, fall 1985, vol. 10/no. 4
The Painted Forest Lisa Stone, winter 1984/85, vol. 10/no. 1
The Woman Folk Artist in America C. Kurt Dewhurst, Betty MacDowell, Marsha MacDowell, winter 1979, vol. 4/no. 4
*Indicates that this issue is available for sale at $6 per copy. Add $3 postage and handling for the first copy,$1 postage and handling for each additional copy. 72 SUMMER 2001 FOLK ART
Friday: 5-10pm • $15 Meet-the-Artist Party & Opening Weekend Admission & Catalog Included
Saturday: 10am-7pm • $6 Sunday: 10am-5pm •$6
0 EXHIBITORS featuring the finest in
Self-Taught Art
Atlanta, Georgia North Atlanta Trade Center 1-85 & Indian Tr. Rd. Ex. 101 Folk Fest, Inc. 770 932-1000 folkfest@bellsouth.net
THE FOLK ART SHOW An On-Line Auction of Fifty Exceptional Works by Self-Taught Artists August 15 - August 25 on:
P2-2" Preview the auction in more detail from May 15 - August 15 at: www.thefolkartshow.com Bid on-line from August 15 - August 25 at: www.ebaypremier.com
ro tECtil,uE'. . AL.t FIttNICS(inf Pthb ANc14.090 tocmpityr r,Act tkoitiotit wr-L• worp.r., wAshApe Alcwa€ 01,14,0°
Carlo Zinelli est. $18,000-20,000 Untitled.(double-sided), 1967 Oil on paper, 19.63" x 27.5"
Bill Traylor est. $40,000-48,000 Barking Dog, 1940 Paint on candy box, 18" x 13"(framed)
est. $6,500-9,500 Josephus Farmer Behold the Lamb of God, 1985 Enamel on wood, 24" x 28"
est. $6,500-8,000 Jon Serl Untitled, undated 011 & Paint on cloth, 31" diameter
Harry Lieberman est. $1,200-1,600 The Binding of Isaac, c. 1970-1980 011 on canvas, 16- x 20"
Clementine Hunter est. $6,000-7,000 Funeral, c. 1960 (framed) Oil on board, 25" x
Nellie Mae Rowe est. $8,000-10,000 Big Eye Sea You, undated Pen, crayon & pencil/paper, 24" x 18.25"
Thornton Dial est. $7,500-9,500 The High Stepper, 1998 Pastel on paper, 30" x 44"
Minnie Evans est. $6,000-8,000 Untitled, 1977 Crayon & oil on paper, 12" x 9"
BurIon Craig est. $3,500-4,200 Untitled (Big Face Jug) Pottery, H. 20"
Georgia Blizzard est. $1,000-1,500 Civil War Major, 1995 Pottery, II" x x 4"
Lanier Meaders est. $2,800-3,500 Untitled (Freckle Face) Pottery, H. I 0.5"
Eddie Arning est. $2,500-4,000 Untitled, undated Craypa on paper, 26" x 20"
Jon Serl est. $4,200-4,500 Discussion, 1978 Oil on canvas, 18" x 24"
Sava Sekulic est. $9,000-11,000 Deer, undated Paint & graphite/cardboard, 19" x 13.5"
Preview the Auction In More Detail From May 15 -August 15 at: www.thefolkartshow.com
Bill Traylor est. $11,000-13,000 Printed Invitation, Bill Traylor: People's Artist Text & hand-printed images, 7.38" x 9", 1940
Leroy Almon est. $8,500-9,500 Untitled (first piece), 1980 Paint on carved wood, 19.25" x 9"
(top view)
Minnie Evans est. $4,000-6,000 Untitled, c. 1948 Ink, pencil & crayon/paper, 9" x 12"
(bottom view)
Royal Robertson est. $700-900 Untitled(USALIS), double-sided, undated Mixed media on posterboard, 22" x 28"
Herbert Singleton est. $4,500-5,500 Kingsnake, 1991 Painted woodcarving, 100- x 4" x 4"
Harry Lieberman est. $1,200-1,600 Untitled, c. 1975-1980 Acrylic on ceramic, approx. 10" x 10" x 4"
William Hawkins est. $1,400-1,600 Hoge Graphite on paper, 14" x II"
Elijah Pierce est. $1,400-2,000 Heart Vase, c. I 930-1940s Painted woodcarving, 3.75" x x 11.5"
Francois Burland est. $5,000-6,000 Au Nom Du Pere, 1993 Graphite & crayon/paper, 19" x 23.5"
Bid On-Line From August 15 - August 25 at: www.ebaypremier.com
Jesse Aarons est. $2,500-2,800 Double Dog, c. 1965-1970, unsigned Carved wood, 14" x 31.5" x 11"
Raymond Coins est. $2,400-2,800 It's Good Mello-Yello..., c. 1980 Carved stone, 19.5" x 9" x 8"
Lee Godie est. $4,500-6,000 Untitled, undated Mixed media/window shade, 33.5" x 32"
est. $1,500-2,500 J. B. Murry Untitled, undated Mixed media on paper, 10.25" x 14"
Justin McCarthy est. $1,500-3,000 Untitled, 1959 Mixed media on paper, 28" x 22"
Terry Turrell est. $3,500-4,500 Gold & Silver, 2000 Enamel on wood, 31.5" x 48"
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est. $800-1,200 Eddie Muma Untitled (double-sided portrait), undated Acrylic on canvasboard, 13.75" x 15.75"
Dwight Mackintosh est. $3,500-4,000 Untitled, 1984, unsigned Mixed media on paper, 40" x 26"
Jim Sudduth est. $3,500-4,500 Snake Woman, c. 1980s Mixed media/wood, 26" x 50.5"(framed)
Preview the Auction In More Detail From May 15 -August 15 at: www.thefolkartshow.com
Mary T. Smith est. $4,500-6,000 Untitled, undated Paint on metal, 29" x 73.5"(framed)
Terry Turrell est. $2,000-3,000 Duet (pair of sculptures), 2000 Mixed media, H. 13.75" and 13"
Alex A. Maldonado est. $2,200-2,600 Watusi, 1963 Oil/canvasboard, painted frame,8-x 16"
J. H.Jennings est. $800-1,000 Amazon Series, undated Carved & painted wood, 12" x 14" x 2"
Clementine Hunter est. $6,000-7,000 Visiting Day, c. 1970s Oil on masonite, 47.5" x 23.5"(framed)
Elijah Pierce est. $1,250-1,850 AA0 (African-American Organization) Paint on carved wood, 15.5" x 6"
Thornton Dial est. $7,500-9,500 Sitting on the Stage, 1998 Pastel on paper, 30" x 44"
Archie Byron est. $2,000-3,000 1909 Apparel, 2000 Mixed media sculpture, 12" x 23" x 12.5"
Herbert Singleton est. $1,750-2,500 Big Hat Willy, undated Paint on carved wood,24" x 36"
Bid On-Line From August 15 - August 25 at: www.ebaypremier.com
Alex A. Maldonado est. $3,300-3,800 Planet With 2 Suns..., 1967 Oil on canvas, painted frame, 20" x 16"
Leroy Almon and Elijah Pierce Good Shepherd, 1979 est. $4,000-5,000 Paint on carved wood, 10.75" x 19.25"
Dwight Mackintosh est. $3,000-4,000 Untitled, c. 1995 Pen on paper, 32" x 30"
Fred Webster est. $1,200-1,750 Sampson and Delilah, c. 1980s Carved & painted wood,9" x 8.5" x 12"
Sybil Gibson est. $3,000-4,000 Untitled, 1971 Tempera on paper, 16.5" x 21"
Frank Jones est. $8,000-10,000 Untitled, undated Colored pencil on paper, 28.75" x 28.63"
Lawrence Lebduska est. $1,000-1,750 Untitled (Floral still life), 1965 Oil on canvasboard, 19" x 23.25"
Jim Sudduth est. $2,500-3,000 Untitled, c. 1970 Mixed media on wood, 32" x 16"
Preview the Auction In More Detail From May 15 - August 15 at: www.thefolkartshow.com
ANNUAL NEW HAMPSHIRE SUMMER AUCTION FOLK ART AND AMERICAN FURNITURE AUGUST 4TH 5114 THE ARMORY AT THE CENTER OF NEW HAMPSHIRE HOLIDAY INN,MANCHESTER
BOXES, OPEN & SHUT RICHARD AND JANE NYLANDER WILL PRESENT AN ILLUSTRATED LECTURE INCLUDING EXAMPLES FROM THE NINA FLETCHER LITTLE COLLECTION. FRIDAY EVENING, AUGUST 3RD IN CONJUNCTION WITH THE WEEKEND AUCTION.
NORTHEAST AUCTIONS RONALD BOURGEAULT,Auctioneer 93 Pleasant Street,Portsmouth, NH 03801 Tel: 603-433-8400 Fax: 603-433-0415 New Hampshire License #2109 - Buyer's Premium
Lat X
America's leading source for antique American fireplace mantelpieces from 1750 to 1830.
Always over one hundred and fifty mantels. No reproduction mantels. No catalogue available.
251 North 3rd Street, Philadelphia, PA 19106 â&#x20AC;˘ 215 574-0700 Appointment Advised.
TRUSTEES/DONORS
BOARD OF TRUSTEES Executive Committee Ralph 0. Esmerian Chairman ofthe Board L. John Wilkerson President Frances Sirota Martinson Esq. Executive Vice President and Chairman, Executive Committee Lucy C. Danziger Executive Vice President Joan M. Johnson Vice President
CAPITAL CAMPAIGN DONORS The American Folk Art Museum has announced a $34.5 million campaign to construct and endow a new home on West 53rd Street. As of March 16, 2001 the following donors have contributed $28,905,519: James M.& Gail K. Addiss Alconda-Owsley Foundation George R. Allen/Gordon L. Wyckoff Raccoon Creek Antiques The American Folk Art Society Mama Anderson Aame Anton Barbara Ardizone R.R. Atkins Foundation Marcia Bain Bankers Trust Company Barn Star Productions, Inc. Judy & Barry Beil in honor of Alice & Ron Hoffman Mrs. Arthur M.Berger Big Apple Wrecking & Construction Corporation Diana H. Bittel Edward V. Blanchard & M.Anne Hill Blanchette Hooker Rockefeller Fund Mr. and Mrs. James A. Block Bloomberg L.P. Edith S. & Barry D. Briskin/Shirley K. Schlafer Foundation Florence Brody Edward J. and Margaret M.Brown Jim Burk Antique Shows Marcy L. Bums/American Indian Arts Lewis P. Cabot Bliss & Brigitte Camochan Caterpillar Foundation John W.Castello, in memory of Adele Earnest Edward Lee Cave Virginia G. Cave Shari Cavin & Randall Morris Christie's Richard & Teresa Ciccotelli Lori Cohen Alexis & George Contos Mrs. Daniel Cowin Mr. and Mrs. Edgar M. Cullman Elissa F. & Edgar M. Cullman Jr. Joe & Joan Cullman Susan R. Cullman Kendra & Allan Daniel David & Sheena Danziger Lucy & Mike Danziger Peggy & Richard M. Danziger
12 SUMMER 2001 FOLK ART
AMERICAN
Bonnie Strauss Vice President Barry D. Briskin Treasurer Jacqueline Fowler Secretary Anne Hill Blanchard Joyce B. Cowin Samuel Farber Members Paul W.Caan Barbara Cate
David L. Davies Darwin/Carolinn Pocher & William Woody Colette & Jim Donovan Deborah & Arnold Dunn Ray & Susan Egan Joyce Eppler Ralph 0.Esmerian In Memory of Heila D. Everard Sam & Betsey Farber Bequest of Eva & Morris Feld M. Finkel & Daughter Fireman's Fund Insurance Company Laura Fisher/Antique Quilts & Americana Jacqueline Fowler Gretchen Freeman & Alan Silverman Furthermore, the publication program of the J.M. Kaplan Fund Galerie St. Etienne, Inc. Gallery of Graphic Arts, Ltd. Rebecca & Michael Gamzon Garth's Auctions, Inc. Sidney & Sandra Gecker James & Nancy Glazer Mr. and Mrs. Merle H. Glick Russ & Karen Goldberger Tracy Goodnow Art & Antiques Howard Graff Jonathan Green Greene & Mays American Antiques Blanche Greenstein & Thomas Woodard Peg & Judd Gregory Bonnie Grossman/The Ames Gallery Pat Guthman Cordelia Hamilton Deborah Harding Marion Harris & Jerry Rosenfeld Harvey Art & Antiques Audrey Heckler Donald Heller, Heller/Washam Nina Hellman Jeffrey Henkel Mr. and Mrs. George Henry Mr. and Mrs. Samuel Herrup The High Five Foundation Frederick D. Hill Pamela & Timothy Hill The Hirschhorn Foundation, Robert & Marjorie Hirschhorn, Carolyn Hirshhorn Schenker Historical Society of Early American Decoration Ellen E. Howe Peter D. Hynson Antiques Paul Ingersoll
FOLK
ART
MUSEUM
Joseph F. Cullman 3rd David L. Davies Jonathan Green Susan Gutfreund Kristina Johnson Esq. David }Crashes Nancy Mead George H. Meyer Esq. Lauren S. Morgan Cyril I. Nelson Laura Parsons
Thomas Isenberg In Memory of Laura N. Israel Johnson and Johnson Joan & Victor Johnson ICristina Johnson Esq. Louise & George Kaminow Julie & Sandy Palley and Samuel & Rebecca Kardon Foundation Allan & Penny Katz Richard Kemble & George Korn, Forager House Collection Leigh Keno Susan & Robert Klein Nancy Knudsen Nancy Kollisch & Jeffrey Pressman Joel & Kate Kopp Greg K. Kramer David Krashes William & Karen Lauder Wendy & Mel Lavitt The Edith and Herbert Lehman Foundation, Inc. John A. Levin & Co., Inc. Levy Charitable Trust The Lipman Family Foundation In Memory of Zeke Liverant Maine Antique Digest Jolie Kelter & Michael Malce Paul Martinson, Frances Martinson & Howard Graff in memory of Burt Martinson Mr.& Mrs. Christopher Mayer Milly McGehee Mr.& Mrs. Dana G. Mead Robert & Meryl Meltzer George H. Meyer J. Randall Plummer & Harvey S. Shipley Miller Judith & James Milne Sandra Moers Keith & Lauren Morgan Cyril Irwin Nelson New York City Department of Cultural Affairs New York State Thurston Nichols Northeast Auctions, Ronald Bourgeault Bequest of Mattie Lou O'Kelley Olde Hope Antiques The Overbrook Foundation The Parsons Family Foundation Frank & Barbara Pollack Lucile & Maurice Pollak Fund Wayne Pratt, Inc. Jackie Radwin Christopher T. Rebello Antiques
J. Randall Plummer Julia T. Richie Margaret Z. Robson Selig D. Sacks Esq. Nathaniel J. Sutton Thaddeus S. Woods Trustees Emeriti Cordelia Hamilton George F. Shaskan Jr.
Fticco/Maresca Gallery Marguerite Riordan John & Margaret Robson Foundation F. Russack Antiques & Books, Inc. Mary Sams-Ballyhack Antiques Peter L. Schaffer Shirley K. Schlafer Memorial Fund The Peter Jay Sharp Foundation In Honor of George Shaskan The George and Myra Shaskan Foundation, Inc. Elle Shushan Arthur & Suzanne Shawe John Sideli Skinner, Inc., Auctioneers and Appraisers of Antiques and Fine Art Sanford L. Smith & Patricia Lynch Smith Elliott & Grace Snyder Mr. and Mrs. Peter J. Solomon Sotheby's The Splendid Peasant/Martin & Kitty Jacobs Stella Show Mgmt. Co. Rachel & Donald Strauber Bonnie & Tom Strauss The R. David Sudarsky Charitable Foundation Nathaniel J. Sutton Takashimaya Co., Ltd. Richard & Maureen Taylor Jeffrey Tillou Antiques Peter Tillou Jean I. & Raymond S. Troubh Fund Tucker Station Antiques Jacob & Ray Van Gelder David & Jane Walentas Clifford A. Wallach Don Walters & Mary Benisek Warburg Pincus Mr. Alan N. Weeden Weil, Gotshal & Manges LLP Frederick S. Weiser David M. Weiss Jay & Meryl Weiss Ed Weissman Ben Werticin David Wheatcroft John & Barbara Wilkerson John Wilmerding Charles & Phyllis Wilson Robert & Anne Wilson Dr. Joseph M.& Janet H. Winston Susan Yecies Shelly Zegart Antique Quilts Jon & Rebecca Zoler Seven anonymous donors
Happy Birthday
Boy Scout Boy
Bourassa Prints e-mail: abourassa@erols.com www.annebourassa.com (215) 842-2168
DONORS
RECENT DONORS FOR EXHIBITIONS AND OPERATIONS—as of April 1, 2001 The American Folk Art Museum greatly appreciates the generous support of the following friends: $100,000 and above Fireman's Fund Insurance Company Two anonymous donors $99,999450,000 Joseph F. Cullman 3rd Ralph 0.Esmerian Samuel & Betsey Farber John & Margaret Robson Two anonymous donors $49,999—$20,000 The ACTUS Foundation Edward V. Blanchard & M. Anne Hill Edith S. & Barry D. Briskin Burnett Group Country Living magazine Mrs. Daniel Cowin David L. Davies & Jack Weeden Virginia S. Esmerian Jacqueline Fowler Barbara & David ICrashes The Lipman Family Foundation,Inc. Frances Sirota Martinson Esq. Joseph Martinson Memorial Fund Mr.& Mrs. Dana G. Mead George H. Meyer Esq. New York City Department of Cultural Affairs New York State Department of Parks & Recreation Pfizer, Inc. The Ridgefield Foundation Elizabeth & Geoffrey A. Stern The Andy Warhol Foundation for the Visual Arts, Inc. John & Barbara Wilkerson Two anonymous donors $19,999410,000 Bear, Stearns & Co.Inc. Bristol-Myers Squibb Company Brooklyn Digital Foundry The John R. and Dorothy D. Caples Fund Lucy C.& Frederick M. Danziger William Doyle Galleries Mr.& Mrs. John H. Gutfreund Furthermore, the publication program of the J.M. Kaplan Fund Joan M.& Victor L. Johnson Johnson & Johnson Family of Companies Employee Matching Gifts Program Leir Charitable Trusts Mr.& Mrs. Keith Morgan J.P. Morgan & Co., Inc. The Parsons Family Foundation The Pinkerton Foundation Julia T.& Leroy Richie Selig D. Sacks The Shirley Schlafer Foundation Schlumberger Foundation, Inc.
84 SUMMER 2001 FOLK ART
Barbara & Thomas W.Strauss Fund Tenneco The Wilkerson Family Charitable Lead Trust One anonymous donor $9,999—$4,000 ABC,Inc. Amicus Foundation,Inc. The Bay Fund Con Edison Jacqueline Fowler Eric J. & Anne Gleacher Goldman, Sachs & Co. Johnson & Johnson Family of Companies Jerry & Susan Lauren The Magazine Group Marstrand Foundation Marvin Kagan,Inc. Mr.& Mrs. Gerald M. Lodge The Mattie Lou O'Kelley Memorial Trust MBNA America, N.A. Neuberger Berman,LLC Mr.& Mrs. Richard D.Parsons Anthony J. Petullo Foundation,Inc. Pheasant Hill Foundation Philip Morris Companies Inc. Dorothea & Leo Rabicin Ricco/Maresca Gallery Mr.& Mrs. Marvin Schwartz The William P.& Gertrude Schweitzer Foundation, Inc. Frederic A.& Jean S. Sharf Taryn & Mark Leavitt Bennett & Judie Weinstock Robert N. Wilson Two anonymous donors $3,99942,000 Dr. Charles L. Abney Jr. Jeremy L. Banta Elizabeth C. Bogner Robert & Kathy Booth Richard & Marian Bott Edward J. & Margaret Brown Marjorie Chester Mr.& Mrs. Edgar M. Cullman Charles E. Culpeper Fund Peggy & Richard M. Danziger Duane, Morris & Heckscher T.J. Dermot Dunphy Mr.& Mrs. Alfred C. Eckert III Douglas G. Ente in memory of Ellin Ente Fastsigns Burton & Helaine Fendelman in memory of Ellin Ente Su-Ellyn Goldstein Jeffrey & Lisa Grand Kristina Johnson Esq. Robert & Luise Kleinberg JoCarole & Ronald S. Lauder Dan W.Lufkin & Silvia Kramer Manoogian Simone Foundation The Mayer-Phillips Foundation Joan & Martin Messinger Gladys Nilsson & Jim Nutt
J. Randall Plummer Mr. & Mrs. Mortimer Propp William D. Rondina Peter L. Schaffer Carol P. Schatt Jean S. & Frederic A. Sharf R. Scudder & Helen Smith Raymond & Linda Simon Richard & Stephanie Solar Mr.& Mrs. David Stein Donald & Rachel Strauber Barbara Trueman Don Walters & Mary Benisek Donald & Pat Weeden The Zankel Fund One anonymous donor $1,999—$1,000 Deborah & James Ash Didi & David Barrett Daniel Berman Mrs. Peter Bing Mr.& Mrs. James A. Block Thomas Block & Marilyn Friedman Marvin & Lois P. Broder Brenda Brody Paul & Dana Caan Circuit City Foundation Citicorp Foundation Matching Gifts Program Liz Claiborne Foundation The Coach Dairy Goat Farm Susan R. Cullman William Cyr Allan & Kendra Daniel Aaron & Judy Daniels David & Sheena Danziger Gary Davenport Michael Del Castello Derrel B. DePasse Maureen D. Donovan Kathleen M.Doyle Nancy Drucicman The Echo Foundation Gloria G. Einbender Janey Fire & John Kalymnios Laura Fisher/Antique Quilts & Americana Florian Papp,Inc. Maxine & Stuart Frankel Foundation Jill Gallagher Daniel M.Gantt David A. Gardner Mr.& Mrs. James R. Gardner Roger L. Garrett Mr.& Mrs. Bruce Geismar Barry & Merle Ginsburg Dr. Kurt A. Gitter & Ms. Alice Yelen Barbara Gordon & Steve Cannon Baron J. & Ellen Gordon Jonathan Green Studios, Inc. Nancy & Ben Greenberg Fund Gayle Greenhill Cordelia Hamilton Mr.& Mrs. James Harithas Terry B. Heled Mr.& Mrs. Richard Herbst Thomas Isenberg Mr.& Mrs. Thomas C.Israel
Louise & George Kaininow Joel & Kate Kopp Robert A. Landau Mr.& Mrs. Lawrence J. Lasser Naomi Leff Glorya & Fred Leighton Barbara S. Levinson Mr.& Mrs. Carl M.Lindberg Carl D. Lobell & Kate Stettner Nancy B. Maddrey Jane Marcher Charitable Foundation C. Mattsson The Helen R.& Harold C. Mayer Foundation Mrs. Myron L. Mayer Judith & James Milne Judith & Bernard Newman David O'Connor Philip V. Oppenheimer & Mary Close Mr.& Mrs. Francis C.Parson Jr. Dr. Burton W.Pearl Mr.& Mrs. Daniel Pollack Polo Ralph Lauren Jack & Roberta E. Rabin Irene Reichert Mr.& Mrs. Keith Reinhard Betty Ring Mr.& Mrs. Daniel Rose Mr.& Mrs. Jeff T. Rose Howard J. Rubenstein Stella Rubin Antiques Riccardo Salmona The San Diego Foundation Charmaine & Maurice Kaplan Fund Mr.& Mrs. Henry B. Schacht Kerry Schuss Semlitz Glaser Foundation Harvey S. Shipley Miller Myron B.& Cecile B. Shure Hardwicke Simmons Steven Simons & Cheryl Rivers Nell Singer Donna & Elliott Slade Mr.& Mrs. Richard Solomon Patricia & Robert Stempel Doris & Stanley Tananbaum Mr. & Mrs. Jeff Tarr David Teiger Dennis Thomas Mr.& Mrs. James S. Tisch Mr.& Mrs. Laurence Tisch Peter & Lynn Tishman Mr.& Mrs. Barry Tucker Ms. Karel F. Wahrsager Mr.& Mrs. David C. Wakntas Clinton Walker Foundation Mr.& Mrs. Charles G. Ward III Irwin H.& Elizabeth V. Warren Alan N.& Barbara Weeden Mr.& Mrs. John L. Weinberg Gerard C. Wertkin Jams & William Wetsman G. Marc Whitehead Michael Willoughby & Associates, Ltd. Dr. & Mrs. Joseph M. Winston John & Phyllis Wishnick Laurie Wolfe & Ann C.S. Benton
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tel. 212.925.1200 fax 212.941.7841 www.phylliskindgallery.com
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SUMMER 2001 FOLK ART 85
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66 SUMMER 2001 FOLK ART
Ms. Teri Wilford Wood and Mr. John Busey Wood Anonymous in honor of Gerard C. Wertkin Yale R. Burge Antiques Three anonymous donors 8999-4500 The Acorn Foundation A. Marshall Acuff, Jr. Joan H. Adler Alexander Gallery Ms. Mary Lou Alpert Richard C.& Ingrid Anderson Anton Haardt Foundation Mr.& Mrs. Al Bachman Frank & June Barsalona Mr.& Mrs. Barry Bell Charles Benenson Leonard Block Jeffrey & Tina Bolton Marilyn & Orren Bradley Marc & Laurie Krasny Brown Deborah Bush Laurie Carmody Mr.& Mrs. Dick Cashin The Chase Manhattan Foundation Matching Gift Program Mr.& Mrs. Robert Cochran Maggie Cohen Mrs. Phyllis Collins Stephen H. Cooper & Prof. Karen Gross Country Floors, Inc. Judy Cowen Michael F. Coyne & Monica Longworth Karen L. Cramer Simon Critchell Mary G. Cullen Mr.& Mrs. Lewis Cullman Kathryn M. Curran Debevoise & Plimpton Don & Marion DeWitt Mr.& Mrs. Gerald T. DiManno Cynthia Drasner Louis Dreyfus Corporation Arnold & Debbie Dunn Edward Clifford Durrell III Shirley Durst Mr.& Mrs. James A. Edmonds Jr. Raymond C. Egan Mr.& Mrs. Alvin Einbender Epstein Philanthropies Ross & Gladys Faires Robert & Bobbie Falk Burton & Helaine Fendelman Mr.& Mrs. Scott Fine Pamela J. Hoiles Firszt Annie Fisher Erin Flanagan Evelyn Frank Ken & Brenda Fritz Denise Froelich Dale G. Frost Margaret A. Gilliam Elizabeth Gilmore Mrs. Bruce Gimbel William L. & Mildred Gladstone Kelly Gonda
Baron J. & Ellin Gordon Mrs. Terry S. Gottlieb Howard M.Graff Robert M. Greenberg Nanette & Irvin Greif Ronald & Susan L. Grudziecki Susan Rosenberg Gurman Irwin Guttag in memory of Ms. Frances Vogel Mr.& Mrs. William P. Hayes Audrey B. Heckler Mr.& Mrs. Tom Hess Stephen Hessler & Mary Ellen Vehlow Leonard & Arlene Hochman Mr.& Mrs. Robert Hodes John & Laima Hood Mr.& Mrs. Fred Imberman Michael T.Incantalupo Mr.& Mrs. Ken Iscol Pepi & Vera Jelinek Betty Wold Johnson & Douglas F. Bushnell Brenda L. Johnson Guy Johnson Richard T. Kanter Maurice & Charmaine Kaplan Nancy Karlins-Thoman Sherry Kass & Scott Tracy Allan & Penny Katz Steven & Helen Kellogg Ms. Joan E. Kend Arthur & Sybil Kern Mary Kettaneh John J. Kirby Jr. Barbara S. Klinger Sherry Kronenfeld Mr.& Mrs. Theodore A. Kurz Elizabeth Larson Luara Lauder Mr.& Mrs. Leonard A. Lauder Wendy & Mel Lavitt Robert A. Lewis Stanley A. Lewis Lewis Mittman,Inc. Sherwin & Shirley Lindenbaum Gloria & Patrick Lonergan Michael T. Martin Mr.& Mrs. Jonathan Marvel Al Marzorini Kelley McDowell Emily McMahon M.P. McNellis Grete Meilimn Mr.& Mrs. Robert Meltzer Michael & Gael Mendelsohn Robert & Joyce Menschel Evelyn S. Meyer Frank J. Miele Timothy & Virginia Millhiser Joy Moos Kathy S. Moses Museums New York Leslie Muth Gallery Ann & Walter Nathan Cyril I. Nelson Mr.& Mrs. Bruce Newman Rachel B. Newman David Nichols Nancy Ann Oettinger
Mr.& Mrs. John E. Oilman Robert & Stephanie Olmsted Paul L.& Nancy Oppenheimer David Passerman Bob Patton & Busser Howell Janet S. Petry Mr.& Mrs. Laurence B.Pike Mr.& Mrs. F.F. Randolph Jr. Paige Rense Dr. & Mrs. Roger Rose Abbey Rosenwald Robert A. Roth Johnes Ruta Merilyn Sandin-Zarlengo Mr.& Mrs. Robert T. Schaffner Jane A. Shallat Margaret Schmidt Mr.& Mrs. Carl J. Schmitt Mr.& Mrs. Jospeh D. Shein Robert & Minda Shein Mr.& Mrs. Ronald Shelp Bruce B. Shelton Joel & Susan Simon Philanthropic Fund Michael Simon Rita A. Sklar John & Stephanie Smither Theresa Snyder
Karen Sobotka Peter J. Solomon Kathryn Staley Mr. & Mrs. Victor Studer Maryann Sudo Barbara & Donald Tober Foundation Mr. Frank Tosto Dorothy C. Treisman Mr.& Mrs. Raymond S. Troubh United Way of Dutchess County Angela Usrey Mr.& Mrs. Hugh B. Vanderbilt Mr.& Mrs. Joseph Viener Robert & Ruth Vogele Jennifer Walker Herbert Well In honor of Bennett Weinstock from his Friends Margaret Wenstrup Susi Wuennenberg Tim & Nina Zagat Diana Zanganas Louis & Susan Zinterhofer Jon & Rebecca Zoler One anonymous donor
The Folk Art & Outsider Art Collection of
Morgan Rank
THE JEAN LIPMAN FELLOWS Jeremy L. Banta Mary Benisek & Don Walters Mr. Ronald Bourgeault Edith S. Briskin Edward & Margaret Brown Virginia G. Cave Marjorie Chester Nancy Druclunan Andrew Edlin Gloria Einbender Su-Ellyn Goldstein Peter & Barbara Goodman Howard M.Graff Mr. Richard W. Herbst Harvey Kahn Susan Kleckner Susan & Jerry Lauren Mr.& Mrs. Gerald M. Lodge
Eric J. Maffei Anne & Jeff Miller Keith Morgan Wendy Nadler J. Randall Plummer Cheryl Rivers Luise Ross Carol Peden Schatt Donna & Marvin Schwartz Jean S.& Frederic A. Sharf Harvey S. Shipley Miller Linda & Ray Simon Mr.& Mrs. R. L. Solar Mr. William W.Stahl Jr. Donald & Rachel Strauber Tracy Goodnow Art & Antiques Dr. Sid von Reis Elizabeth V. Warren
RECENT DONORS TO THE COLLECTIONS Gifts Judith Alexander Barbara Blank & Barry Shapiro Peter P. Cecere Anna K. Conti David L. Davies Mike & Lucy Danziger Ralph 0. Esmerian Virginia Esmerian Zipporah Fleisher Jacqueline Fowler Ruth P. Horwich Thomas Isenberg
Kristina Johnson Arthur & Sybil Kern Ed & Lee Kogan Stephanie Fowler Levin Frank Maresca George H. Meyer Mr. & Mrs. Richard A. Moore Jr. Cyril Irwin Nelson Sanford L. Smith Bonnie & Tom Strauss Kurt Gitter & Alice Rae Yelen Gregory Warmack as Mr. Imagination
4â&#x20AC;&#x17E;,
September 26, 2001, 10 a.m. Catalogs $25. James D. Cyr, Maine Auctioneer #720. P.O. Box 1238, Gray, Maine 04039. Ph:(207)657-5253 Fax:(207)657-5256 r on Comparu http://www.cyrauction.com - Email: jim@cyrauction.com Call for Your Catalog Today!
SUMMER 2001 FOLK ART 87
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88 SUMMER 2001 FOLK ART
Hopi Palbik Mana Katsina, 12" high, circa 1900
BARN STAR PRODUCTIONS, INC. PROUDLY PRESENTS Russell Carrell's Original
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Visit the.
FRANK J. MIELE GALLERY cut COUNTRY CORNER Like a breath of fresh country air, Country Corner offers a cornucopia of Americana—original works of contemporary American folk art, as well as home accessories and gifts in the folk tradition. A unique country shop right in the heart of Manhattan—with wood planked floors and the welcoming scents of potpourri— Country Corner offers a wonderful selection of unusual products based upon the work of contemporary American folk artists, many of whom exhibit their original works of art in the Frank J. Miele Gallery. All of the home accessories and the works of art are familiar, comforting, comprehensible, affordable and fun. The selection of home accessories and gifts includes floormats, floorcloths, hooked rugs, tableware, Bennington ware, enamelware, glassware, flatware, trays coasters, placemats, mugs, pillows, totebags, candles, potpourri, books,journals, scrapbooks, photograph albums, address books, greeting cards, notecards, puzzles, flag pins and many more quintessential American gifts in the folk tradition.
1086 Madison Avenue (at 82nd Street), New York 212.249.7250 and now on the West Side, too—just blocks from the Museum of American Folk Art
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196 Columbus Avenue (at 69th Street), New York 212.874.0095
FORBES & TURNER ANTIQUES SHOWS The Dorset Antiques Show July 14, Dorset, VT
NELLIE MAE ROWE
140 Outstanding Dealers Exhibiting on the Marble Sidewalks and Tree-ShodPd Lawns in this Charming Historic Town Early Admission: 8-10Am $25 General Admission 10-4 $5 Village Green, off RT30 A Benefit for the Dorset Library Association
The 8th Annual Riverside Antiques Show August 7, 8 & 9, Manchester, NH One of the Cornerstones of"Antiques Week in New Hampshire", Featuring 72 Quality Exhibitors From Throughout the Eastern, Mid-Atlantic, Southern and Midwestern States. Tues. 6-8:30Pm; Wed. 1-7Pm; Thurs. 12-5Pm; • $8 New Hampshire State Armory, 1059 Canal St., RT 293, Exit 6
JUDITH ALEXANDER PHONE/FAX 212 533 7754
The 39th Annual Bath Area Antiques Show August 14 st 15, Bath, ME This 40 Exhibitor Indoor Show Has Been a Maine Summer Tradition Since 1962 Tuesday, 9-5 $5 • Wednesday 10-4 $5 Bath Area YMCA A Benefit for the Bath Area Family YMCA
WNW ARTS
The Fall Hildene Antiques Show September 22, Manchester Village, VT Outdoor Show & Sale Under Big Top and Individual Tents at the Meadowlands Portion of the Estate Built by Abraham Lincoln's Son, Robert Todd Lincoln Early Admission: 8-10Am $15, General Admission 10-4 $5 The Meadowlands, River Road, off Rt7A A Benefit for The Friends of Hildene, Inc. 75 Exhibitors
The Fall Hartford Antiques Show September 29 Si. 30, Hartford, CT The Incomparable Source of Period American Antiques General Admission: Saturday, 10Am-5, Sunday 10-4 $8 The Broad Street Armory Broad Street and Capitol Avenue, 84W, Exit48; 84E, Exit 48B
LINDA TURNER 207-767-3967 www.forbesandturnencom
92 SUMMER 2001 FOLK ART
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Popular and Folk Art, from Asia, Africa and the Americas Haitian Paintings • Metal Sculpture • Vodou Flags West African Barber Shop Signs•Huichol Paintings Mexican &Latin American Folk Carvings & Paintings Ethnographic Sculpture, Furniture &Textiles 151 N. 3rd Street, Philadelphia, PA 19106 215-922-4041 fax: 215-922-0895 www.incligoarts.com
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SUMMER 2001 FOLK ART 93
NEW ENGLAND'S PREMIERE SUMMER SHOW THURS. AUG.9, 10AM - 8PM FRI. AUG. 10, 10AM - 8PM SAT. AUG. 11, 10AM - 4PM ADMISSION THURS. $10.00 FRI. & SAT. $8.00 INCLUDES RE-ENTRY
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FOLK
ART
Representing more than 300 years ofAmerican design,from the late 1600s to the present, the American Folk Art Museum CollectionTM brings within reach ofthe public the very best ofthe past to be enjoyedfor generations to come.
COLLECTION New Directions
The Museum announces a new name and new licensing logo in celebration and recognition of its new building. * American Folk Art Museum Collection
News from Museum Licensees Share our legacy; look for new products from our family of licensees, featuring unique designs inspired by objects from the Museum's collection. *American Pacific Quilts for all seasons.... April marked the third time this year the Museum's bedding products were featured on QVC.Bedcovers, throws, pillow shams, and dust ruffles for every season and decorating style were introduced by Elizabeth Warren, the Museum's consulting curator, quilt expert, and coauthor of Glorious American Quilts: The Quilt Collection ofthe Museum of American Folk Art. Liz inspired viewers not only with the historic significance of the Museum's quilt collection but with unique decorating ideas as well. If you would like to receive our "Decorating with Quilts" flyer, please send an SASE, Attn. Licensing Department, and we'll cover you with several new ideas. Don't miss our next showâ&#x20AC;&#x201D;it's scheduled for October 2001. *Fotofollo A picture-perfect view of the world of folk art.... Fotofolio is creating a series of postcard books featuring objects that will be on view during the
American Pacific "Hopscotch Quilt," featured in April QVC show
Museum's inaugural year of exhibitions. Available this fall will be Selectionsfrom American Radiance, Selectionsfrom American Anthem, and Selectionsfrom the Henry Darger Collection. *Galleon Crazy for quilts.... Galison's newestjigsaw puzzle, available this fall, will feature a Crazy quilt from the Museum's spectacular collection of show quilts. It's guaranteed to challenge even the most experienced and dedicated puzzle enthusiast. Send us a picture of the finished puzzle and the time it took you to complete itâ&#x20AC;&#x201D;we'll send you something special in return. *Gallery Partners Soothing words, soothing aroma.... A sachet covered with fabric featuring details from the Museum's 1848 Pieties Quilt, by Maria Cadman Hubbard and filled with lavender, an age-old healing fragrance, will soon be available. It's a perfect way to send "Little words of kindness and love" to family and friends. *Takashimaya Make new friends but keep the old.... Sayonara to Mr. Kazuo Kusunoki, who after 9 years in New York returned to Japan, and Konichiwa to Mr. Takeshi Watanabe, general manager, New York Representative Office, our newest friend from Takashimaya. * Wild Apple Graphics A wild
thank you.... from all of us at the Museum to Wild Apple, who have generously offered to pub-
Takashimaya Co., Ltd.: Kazuhiko Kishi, Merchandising Coordinator, New York Representative Office; Tadahiko Hatano, Regional General Manager of America; and Takeshi Watanabe, General Manager, New York Representative Office.
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FOLK ART
COLLECTION New Licensing Logo
lish a poster, designed by Pentagram Design,Inc.,in honor of the Museum's new home. The poster will be available this fall when the Museum opens the doors to its newest Book and Gift Shop at 45 West 53rd Street. Dear Customer
Your purchase of Museumlicensed products directly benefits the exhibition and educational activities of the Museum. Thank you for participating in the Museum's continuing efforts to celebrate the style, craft, and tradition of American folk art. If you have any questions or comments regarding the American Folk Art Museum Collection,Tm please contact us at 212/977-7170. Family of Licensees American Pacific Enterprises (415/782-1250)quilts, shams, pillows. Carvin Folk Art Designs, Inc.(212/755-6474) gold-plated and enameled jewelry.* Fotofolio (212/226-0923) art postcard books, wooden postcards, boxed
note cards, magnets.* Galison (212/354-8840) boxed note cards.* Gallery Parhirs (718/797-2547)sachets, scarves, ties.* LiquidArt,Ltd.(312/6440251)digital art reproduction screensavers. Manticore Inc. (800/782-2645) mouse pads, screensavers, coasters, note cubes. Mary Myers Studio (800/829-9603) wooden nutcrackers, nodders, tree ornaments.* On The Wall Productions,Inc.(800/7884044) Magic Cubes.* Organic Lands(607/544-1090) Organic deli items. Takashimaya Company,Ltd.(212/350-0550)home furnishings and decorative accessories (available only in Japan). Thneframed (313/885-1399) limited editions of unique collectibles. Tyndale,Inc.(773/3840800)lighting and lamp shades. Wild Apple Graphics,Ltd. (800/756-8359)fine art reproduction prints and posters.* *Available in the Amctican Folk Art Museum Book and Gift Shop.
SUMMER 2001 FOLK ART 95
Richard Rubenstein, Trustee John Wilkerson, Trustee Selig Sacks, and Michael Donovan
2001 Outsider Art Fair n Thursday, Jan. 25, the Contemporary Center of the American Folk Art Museum proudly hosted the Opening Night Benefit Preview of the ninth annual Outsider Art Fair. The Center's director, Brooke Davis Anderson, along with Museum Director Gerard C. Wertkin and Deputy Director Riccardo Salmona, welcomed more than 600 Museum members and friends to the event. The Outsider Art Fair, organized by Sanford L. Smith & Associates, and directed by Caroline Kerrigan and Colin Lynch Smith, was held at New York's famous Puck Building in SoHo. Thirty-two exhibitors filled the hall, including two from France, two from Germany, and one each from England and Canada. The range of artists represented was phenomenal and the work was very exciting. Guests enjoyed the show,the food, and the music of Zane Massey,Sean Grissom, Carolina Slim, Moses Josiah, and Mr. Spoons. The evening was made possible with the generous corporate support of Donovan & Green, Goldman, Sachs & Co., marchFIRST,and Pryor Cashman Sherman & Flynn LLP,and through the invaluable efforts of Benefit Chairs Michael Donovan and Nancye Green, Richard and Amy Rubenstein, and Selig and Angela Sacks,Co-Chairs Deborah Bush and Andrew Edlin, and Special Events Coordinator Katie Hush. In addition to the revenue realized by Preview ticket sales, the evening's silent auction brought in almost $35,000. Twenty-nine art objects and a wonderful catered dinner were auctioned off. These were donated by the following dealers and friends: The
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Ames Gallery, Andrew Edlin Fine Arts, Angela Usrey Gallery, Ann Nathan Gallery, Carl Hammer Gallery, Cavin-Morris Gallery, Dean Jensen Gallery, Essie Green Galleries, Galerie Bonheur, Galerie 4 Coins, Galerie St. Etienne, Gilley's Gallery, Grey Carter—Objects of Art,J Crist Gallery, Jean-Pierre Ritsch-Fisch Galerie, Keny Galleries, K.S. Art, Marion Harris, The Modern Primitive Gallery and Tim Flinn, Phyllis Kind Gallery, Ricco/Maresca Gallery, Rising Fawn Folk Art, Sin von Reis and daughter Serena Altschul and Great Performances Catered Events. In the week surrounding the Outsider Art Fair, there were many related events that brought together Museum members and friends from near and far. On Wednesday, Jan. 24,the Fleisher/011man Gallery generously hosted a reception for the Americus Group, the Trustee J. Randall Plummer, Robert Cannon, and Trustee Museum's young folk art Kristina Johnson enthusiasts. The reception—also attended by Museum staff and some older members—was held at the John McEnroe Gallery in SoHo. The next day, the Museum's Folk Art Explorers took off on a tii-borough day trip that included visits to the Manhattan home of collectorJerry and Marie DiManno with Dana and wife, Trustee Nancy Mead dealer Jennifer Pinto Safian, Danny Simmons of the Corridor Gallery in Brooklyn, and the P.S. 1 Art Center in Queens. The group of 40 attendees returned to the Museum for a curatorial lecture and tour of "ABCD: A Collection of Art Brut," given by the exhibition's cocurator Brooke Davis Anderson.
Richard and Amy Rubenstein
On Saturday, Jan. 27, "Uncommon Artists IX: A Series of Cameo Talks," the Museum's annual symposium, was presented by the Contemporary Center and New York University at NYU's Barney Building. Speakers included Dr. Judith Weissman, director of folk art studies, New York University; Gerard C. Wertkin, director, American Folk Art Museum; Lee Kogan, director, Folk Art Institute, American Folk Art Museum; Tracy BakerWhite, director of public programs, Southwest School of Art and Craft, who spoke on artist Charles A.A. Dellschau; author Michael Bonesteel, who spoke on the writings of Henry Darger; artist Renee Stout, who spoke on the influences on her art; and art historian Jenifer P. Borum, who spoke on the self-taught artist in an expanded context.
Judith Weissman, Michael Bonesteel, Jenifer P. Borum, Renee Stout, Tracy Baker-White, and Lee Kogan
96 SUMMER 2001 FOLK ART
ART BRUT ART BRUT Classic European and American Outsider Art
Classic European and American Outsider Art
JENNIFER PINTO SAFIAN
JENNIFER PINTO SAFIAN
by appointment only 1000 Park Avenue, New York, NY 10028 tel:(212)472 8626 email:jpsafian@aol.com
by appointment only 1000 Park Avenue, New York, NY 10028 tel:(212)472 8626 email:jpsafian@aol.com
Intuit: The Center for Intuitive and Outsider Art
1991-2001 Save the date!
Edgar Tolson
Intuit's big ten-year anniversary weekend celebration
September 21-23 HACKLEY GALLERY FOLK & OUTSIDER ART 439 Chestnut Street P.O. Box 250 Berea, Ky 40403 859/986-0007
• party • live and silent auction • • tours of private collections • • and other special events • Intuit: The Center for Intuitive and Outsider Art
756 N. Milwaukee Ave., Chicago,It 60622 312.21+3.9088 fax 312.21+3.9089 intuit@art.org http://outsider.art.org
Larry Hackley
SUMMER 2001 FOLK ART 97
MUSEUM
NEWS
ABCD—On View Through July 22 he exhibition "ABCD: A Collection of Art Brut" opened in January at the Museum's Eva and Morris Feld Gallery on Columbus Avenue to great applause."Outsider art has come a very long way since the French painter Jean Dubuffet began collecting [it] in 1945," said Tessa DeCarlo of The New York Times. DeCarlo described the exhibition as"New York City's first major museum exhibi-
T outsiderartauctions.com
Donald H.Singletary and cocurator Brooke Anderson
SAM DOYLE Jennifer Pinto Safian and cocurator Jenifer P. Borum
• • • THE LAROCHE COLLECTION 51 Pineview Road Bluff-ton, S.C. 29910 Phone 843-757-5826 Fax 843-757-5628 Email Iclaroche@earthlink.net http//:www.larochecollections.com
98 SUMMER 2001 FOLK ART
tion of classic European art brut, presenting more than 100 passionately idiosyncratic works from a collection dedicated to the French painter's ideas. . . ." The pieces selected for this impressive exhibit were chosen by cocurators Brooke Davis Anderson and Jenifer P. Borum from a collection amassed by the Swiss organization ABCD (Art Brut Connaissance & Diffusion), headed by contemporary filmmaker Bruno Decharme. Decharme and his wife, Barbara Safarova, were on hand to share the excitement of the opening with the exhibition's funders, Trustee Sam Farber and his wife, Betsey; the curators; and Museum members and friends. "ABCD: A Collection of Art Brut" will be on view through July 22. See Traveling Exhibitions on page 101 and Summer Programs on page 102 for information on related free afternoon and evening lectures and workshops, and for exhibition tour dates for Sheboygan, Wisc., Atlanta, and Orlando.
From left: Betsey Farber, Sam Farber, Barbara Safarova, and Bruno Decharme
GREY CARTER Objects of Art Celebrating African American Heritage he Museum celebrated Black History Month with programs for adults and families throughout February. Lee Kogan, director of the Folk Art Institute, gave a talk on the life and art of Nellie Mae Rowe on Feb. 15,focusing on the vibrancy and optimism of Rowe's work. On Feb. 28, Kogan discussed the work of religious visionary artist J.B. Murry and other African American artists who drew upon interpretations of the Holy Spirit for inspiration. On the afternoon of Sunday, Feb. 18, Sandy Benjamin-Hannibal, Dingha McCannon, and Myrah Brown Green, three members of the Women of Color Quilters' Network presented a special program on their work and that of other African American quiltmakers to an enthusiastic audience. Benjamin-Hannibal is the first African American to
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design a line of quilt fabrics for King's Road of California Imports. McCannon is a versatile graphic artist and designer of wearable art. Green, strongly influenced by African American history and culture, creates colorsaturated quilts replete with symbols and signs rooted in her cultural heritage. Members of the Women of Color Quilters' Network have participated in the American Folk Art Museum's annual Metropolitan Quilt Day for the past five years. Finally, on Feb. 25, Denise Allen, an African American quiltmaker who explores issues of family and slavery in her three-dimensional works, led the Museum's Sunday afternoon family workshop "Story Quilts and Paper Collages." In this program, she helped families tell their own stories through the creation of elaborate paper collages.
From left: Director of Education Diana Schlesinger, Frayda Pitowsky, Mercedes Bierman, Roberta Gaynor, Deborah Ash, Jeanne Riger, Nancy Greenberg, Dena Bock, Mildred Gladstone, Shirley Lindenbaum, Nancy Fischer, and Su-Ellyn Goldstein
Docents Tour New Building na brisk day in early summer, Deputy Director Riccardo Salmona led Museum docents on an insider tour of our new building on West 53rd Street. Dressed in their hard hatsâ&#x20AC;&#x201D;not exactly Easter bonnetsâ&#x20AC;&#x201D;the docents carefully picked
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their way around cables and tool stations to view the work in progress. They were delighted by the architects' attention to detail, the extensive exhibition space, and the never-before-seen views across 54th Street.
J. J. Cromer, Fed on Fat and Charm and Told to Go Away 2000, 23" X 24", mixed media on wood
Featuring self-taught artists, including: J. J. Cromer
Harold Crowell Victor Joseph Gatto Ted Gordon John Holly Paul Lancaster Charlie Lucas Malcolm McKesson Mark Casey Milestone Justin McCarthy John McQuirk Joe Polinski Jack Savitsky Brooks Yeomans ...and many more
1126 Duchess Dr., McLean, Virginia 22102 By appointment (703) 734-0533 gcarter@pressroom.com Visit our website at www.greyart.com
SUMMER 2001 FOLK ART 99
MUSEUM
NEWS
Howard Finster's Paradise Gardens For a day of adventure come see Paradise Gardens, a Folk Art Haven. Open Daily 12-6 PM
Howard Finster Meets the public on Sundays 2-4 PM
Finster Folk Art Gallery Represents 42 folk artists
Paradise Cottage $60 per night
Web-site www.finster.com For more information call
1-800-finster or 706-857-2926
•-•.2
Folk Art Explorers Tour Charleston and Savannah his spring, 38 Folk Art Explorers enjoyed delightful weather on a trip to the Southern cities of Charleston, S.C., and Savannah. The trip, which took place March 20 to 25, commenced with a tour of the charming city of Charleston. Later, Gibbes Museum of Art curator Angela Mack guided the explorers through the museum's collection of miniature portraits and the special traveling exhibition "Love and Loss: American Portrait and Mourning Miniatures." The group also participated in the self-guided walking tour of the city's Historic Homes and Gardens on notable South Battery Street, including visits to flowering gardens full of azaleas and beautiful homes not normally open to the public. Also featured were visits to Charleston artists Philip Simmons and Dr. Marlena Obryant-Seabrook and to Middleton Place plantation, where the Folk Art Explorers saw the grounds and the house. On the way to Savannah,contemporary folk art collectors Jay Althouse and Sally Albrecht graciously opened their beautiful Hilton Head home. Two galleries were also visited: Red Piano Too and America Oh Yes. Joseph Adams of America Oh Yes entertained the group in the Com-
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Museum members Nan and Iry Greif in the ruins of the Chapel of Ease on St. Helena Island
modore Room of the Hilton Head Yacht Club with a humorous and informative luncheon lecture on his experiences with folk art. In Savannah, the group enjoyed a tour of the historic city and saw the Bonaventure Cemetery, made famous in John Berendt's book Midnight in the Garden ofGood and Evil, and paid a memorable visit to the prolific artist Rudolph Valentino Bostic. Curator and art historian Carroll Green explained the fascinating Ulysses Davis Collection at the Beach Institute African American Cultural Center. Beth Bergin and Suzamtah Schatt of the Membership Department wish to thank everyone listed above who helped plan this trip and others who suggested places to visit or people to contact. For information about future trips, please contact the Membership Department at 212/977-7170 or e-mail folkartexplorers@folkartmuseum.org.
FoW Art Explorers In front of the famous Mercer House In Savannah
Whimsical paiMings:onsfoimil-Materials%
wwW.MSILA_Wfolkart.com . Manchester, Michigan `.• \•
734-728-749q-.
100 SUMMER 2(1)1 FOLK ART
AMERICNS OLDEST MAKERS OF COLONIAL AND EARLY AMERICAN LIGHTING FIXTURES
Christopher Gurshin daddy gr olof 961paathig sace >966
Paintings of 19th Century Ord(1* .w (England A distinctive style with a Rufus Porter influence
MURAL PAINTING Creating painted walls in your home or business.
C4) AUTHENTIC DESIGNS 17 The Mill Road West Rupert, Vermont 05776 (802) 394-7713 Catalogue $3.00
TRAVELING
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Old Town Collection Enjoy collecting Christopher Gurshin three dimensional buildings moilP ofsolid pine. All original and unique with an handfinish that creates the warmfeeling ofour early heritage. Log on to www.christophergurshin.com and enter Country Accents to view some of the collection. Box 634. Newburyport, Massachusetts 01950 978 - 462 - 7761
EXHIBITIONS
Mary Michael Shelley Painted low relief woodcarvings since 1973
Mark your calendars for the following American Folk Art Museum exhibition when it travels to your area during the coming months: Nov. 11.2001—Feb. 3,2002 ABCD: A Collection of Art Brut John Michael Kohler Arts Center Sheboygan, Wisconsin
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April 27—Aug. 3, 2002 ABCD: A Collection of Art Brut High Museum of Art, Folk Art and Photography Galleries Atlanta Dec. 12, 2002—Mar. 10, 2003 ABCD: A Collection of Art Brut Mennello Museum of American Folk Art Orlando, Florida For further information, please contact Judith Gluck Steinberg, coordinator of traveling exhibitions, American Folk Art Museum,555 West 57th Street, New York, NY 10019-2925, 212/977-7170.
607-272-5700 109 Park Place, Ithaca, N.Y. 14850
SUMMER 2001 FOLK ART 101
SUMMER
PROGRAMS
"Nina Fletcher Little was unique among the pioneering folk art collectors ...[Hers special contribution was to bridge the worlds of American antiques and folk art, bringing the antiquarian's passion for the past to the study of folk art. She combined a keen appreciation of the aesthetic qualities of an object with a determination to discover everything possible about the historical and social context in which it was created—who made it, when and where, how it was used and by whom. For her there was no contest between object and context: she honored both."—Rum WOLFE, Folk Art
Little by Little Six Decades of Collecting American Art 1984, 1988. 308 pp. 372 illus.(147 color). Paper, $35.00
Country Arts in Early American Homes 1975, 1999. 255 pp. 210 illus.(20 color). Paper, $17.95
Unless otherwise specified, all programs are held at the American Folk Art Museum/Eva and Morris Feld Gallery, 2 Lincoln Square, Columbus Avenue between 65th and 66th Streets, New York City. Programs are open to the public, and admission is free. For more information, please call 212/595-9533. TUNES AND TALKS: CONTEXTUALIZING ART BRUT Presented in conjunction with "ABCD:A Collection ofArt Brut" Thursdays 6:00 PM
Neat and Tidy Boxes and Their Contents Used in Early American Households 1980, 2001. 248 pp. 214 illus.(24 color). Paper, $19.95 Society for the Preservation of New England Antiquities
New England
UNIVERSITY PRESS OF Hanover, NH 03755-2055 • 800-421-1561 • Fax 603-643-1540
4 v Itzet
Mississippi Quilts
•via
Mississippi ; 1 Pf 44 Quilts
Mary Elc.Abeth iohnson
By Mary Elizabeth Johnson Photographs by J. D. Schwalm A celebration of Mississippi's quilt-making heritage from the early 1800s to 1946, with 152 color and 40 black-andwhite illustrations $60 hardback, $30 paperback
Let It Shine Self-Taught Art from the T. Marshall Hahn Collection By the High Museum of Art A sumptuous catalog of selftaught art from one of America's major collections, with 85 full-color plates and 25 halftones $40 hardback
Let it Shine
June 28 Curators' Choice Brooke Davis Anderson and Jenifer P. Borum, exhibition cocurators. Refreshments will be offeredfollowing this informal talk. July 12 Between Prague and Spirit: Locating Anna Zemankova Shari Cavin, Cavin-Morris Gallery ON THURSDAYS: TAKE A BREAK FOR ART BRUT Informal and informative lunchtime curatorial talks presented in conjunction with "ABCD:A Collection ofArt Brut" Thursday 12:00-1:00 PM July 12 Brooke Davis Anderson, exhibition co-curator; director, The Contemporary Center, American Folk Art Museum
SUNDAY FAMILY PROGRAMS Sundays 2:00-4:00 PM For children age 5 and up. Materials fee: $3 Reservations are required. Please call the Museum at 212/595-9533 or sign up at the reception desk. Programs will explore the artistic imagination and creativity in "ABCD: A Collection of Art Brut" and find connections between music, movement, and visual art. June 24 Book Blast Join book artist Ben Rinehart to construct a unique book of writings, drawings, or photographs. July 8 Automatic Postcards Let your imagination take you on afaraway trip and create a postcard to send to someone back home. July 22 Mixed Animal Mobiles After examining the multimedia works ofAuguste Forestier, createfantastic creatures using cardboard and tissue paper.
CAMP PROGRAMS Camp programs are offered during the month of July. Please call the Education Department at 212/977-7170 for more information.
At your local bookstore or from the publisher at
1-800-737-7788
102 SUMMER 2001 FOLK ART
University Press of Mississippi www.upress.state.ms.us
The Museum's public programs are made possible in part by the New York City Department of Cultural Affairs and Eassi
AMERICAN STONEWARE COLLECTORS
Always a source for significant buying
"AUCTION AND APPRAISAL SERVICES"
WILTON ANTIQUES MARKETPLACE SHOWS September 16 Sunday, 10-5 To benefit Drum Hill DAR
Richard C. Hume P.O. Box 281 Bay Head, N.J. 08742 732-899-8707
Carl Wissler 2015 Lintz Pike Lancaster, PA. 17601 717-569-2309
Admission $7.00 - $6.00 with card or ad
December 2 Sunday, 10-5 A benefit for the John G. Corr Memorial Award Fund
Admission $7.00 - $6.00 with card or ad
Jeanine Taylor
Wilton High School Field House Route 7, Wilton, Connecticut
FOLK ART GALLERY
The best buy.. . The best pickings.. . EARLY BUYING 8:30-10:00 am $20.00 per person
ORLANDO, FLORIDA
"This Art is Hot" americana, yard & folk art
Art & Antiques ofthe 18th, 19th and 20th Centuries The most exciting one-day shows in the country with 125 of America's finest dealers showing American. English and European country and formal period furniture and decorative arts, folk art and the accessories of early homes, in room settings. These comprehensive shows are planned to appeal to serious collectors, dealers, designers and those looking for authentic antiques and interesting objects to furnish homes.
Produced by Marilyn Gould
featuring
Eric Legge, Jim Shores & Lila Graves
•
Merritt Parkway: Exit 39B from the west Exit 41 from the east
summer show
•
1-95: Exit 15, north 8 miles
June 8 - August 31, 2001
•
1-84: At. 7, south 12 miles
•
Metro North railroad to Cannondale Station
www.jtfolkart.com
ffinisoN Only 50 miles from New York City
MCG Antiques Promotions 10 Chicken St., Wilton, Conn.06897
(203)762-3525
SUMMER 2001 FOLK ART 103
EPSTEIN/POWELL 66 Grand St., New York, N.Y. 10013 By Appointment(212)226-7316 e-mail: artfolks@mindspring.com
Jesse Aaron Rex Clawson Donovan Durham Antonio Esteves Victor Joseph Gatto (Estate) Lonnie Holley S.L. Jones Charlie Lucas
Justin McCarthy Old Ironsides Pry Popeye Reed Max Romain Bill Roseman Jack Savitsky Clarence Stringfield Mose Tolliver and other American outsiders
INDEX
TO
ADVERTISERS
Allan Katz Americana 12 American Pie 34 American Primitive Gallery 28 American Stoneware Collectors 103 The Ames Gallery 33 Anne Bourassa 83 Anton Haardt Gallery 85 ArtSpaceNirginia Miller Galeries 14 At Home Gallery 90 Authentic Designs 101 Barn Star Productions, Inc. 89 Candle in the Wind Studio 88 Cavin-Morris, Inc. 2 Christie's 16 Christopher Gurshin 101 Classic Rug Collection Inc. 86 Cyr Auction Company 87 David Wheatcroft 8 Epstein/Powell 104 Finster Folk Art 100 Fleisher/Oilman Gallery Back Cover Forbes & Turner 92 Francis J. Purcell II 81 Frank J. Miele Gallery 91 Galerie Bonheur 88 Garde Rail Gallery 85 Gilley's Gallery 30 Ginger Young Gallery 30 Gold Goat Antiques 27 Graves' Country Gallery and Antiques 38
104 SUMMER 200! FOLK ART
Grey Carter/Objects of Art 99 Hackley Gallery 97 Hancock Shaker Village 31 High Museum of Art 22,26 Hill Gallery 10 Indigo Arts 92 Intuit 97 J Crist Gallery 3 J.E. Porcelli 32 Jackie Radwin 23 Jean-Pierre Ritsch-Fisch Galerie 11 Jeanine Taylor Folk Art Gallery 103 Jennifer Pinto Safian 97 John C. Hill 88 Joy Moos 93 Judith Alexander 92 Judith Racht Gallery 37 Kimball Sterling 98 The LaRoche Collection 98 Laura Fisher Antiques 25 Lindsay Gallery 41 Luise Ross Gallery 93 Main Street Gallery 38 Margaret Shaw 100 Mary Michael Shelley 101 MCG Productions 103 Mennello Museum 39 The Modern Primitive Gallery 74-79 Museum of Fine Arts, Boston 35 New Hampshire Antiques Dealers Assoc. 94
New York State Historical Assoc. 36 Northeast Auctions 80 Odd Fellows Antiques 13 Olde Hope Antiques 7 Phyllis Kind Gallery 85 Ricco/Maresca Gallery Inside Front Cover Robert Cargo Folk All Gallery 40 Robert Young Antiques 20 Select Southern Pottery 90 Sidney Gecker 17 Sotheby's Inside Back Cover The Splendid Peasant, Ltd. 9 St. Madeleine Sophie's Center 86 Stella Rubin 29 Steve Miller 1 Steve Slotin 73 Thurston Nichols American Antiques 12 Tops 94 Tracy Goodnow 22 Tyrone D. Campbell Gallery 34 University Press of Mississippi 102 University Press of New England 102 Walters/Benisek 4 Yard Dog Folk Art 93 You Gotta Have Art 90 The Zetter Collection 36
You See the Most Remarkable Folk at Market These Days INQUIRIES
American Folk Art Nancy Druckman 212 606 7225 fax 212 606 7038 CATALOGUES
800 444 3709 outside the continental U.S. 203 847 0465 fax 203 849 0223 SOTHEBY'S
1334 York Avenue New York, NY 10021 www.sothebys.com Bill Traylor Man with Yoke Pencil and gouache on cardboard 22 by 14 in. (55.9 by 25.6 cm.) Sold for $198,000
Sotheby's