The art of the Fang, the BaTeke, the BaKota, and other African peoples is extraordinarily vigorous and shows a brilliant sense of form. The substantial aesthetic impact that their works have had on the development of twentieth-century Western art on Picasso, Derain, Braque, and Modigliani, among others continues to this day. This classic study reveals the astonishing variety and expressive power of the art of a continent that contains more distinct peoples and cultures than any other. The revised edition has been updated throughout, incorporating recent research and additional illustrations, plus a new chapter and extended bibliography. It remains an invaluable resource for students and for anyone interested in African art.

Completing the two-volume set, Souls Grown Deep, Vol. 2 takes the visual and historical presentation of the first volume to a richer level, offering an even broader array of artistic styles and media.

Published in 2000, the first volume explored the diverse historical roots of the genre and introduced artists whose work recalled the South of the pre-civil rights era. This sequel brings the movement into the present, delving into the work of the current generation of artists who are creating a complex form of art that blurs the boundaries between folk and contemporary art.

"Coming into being, the work of art, this very pot, creates relations relations between nature and culture, between the individual and society, between utility and beauty. Governed by desire, the artist s work answers questions of value. Is nature favored, or culture? Are individual needs or social needs more important? Do utilitarian or aesthetic concerns dominate in the transformation of nature?" from the Introduction

The Potter s Art discusses and illustrates the work of modern masters of traditional ceramics from Bangladesh, Sweden, various parts of the United States, Turkey, and Japan. It will appeal to anyone interested in pottery and the study of folklore and folk art.

Henry Glassie is College Professor of Folklore and Co-director of Turkish Studies at Indiana University. He has been a Guggenheim Fellow and a Fellow of the National Humanities Institute; he has also served as President of the Vernacular Architecture Forum and of the American Folklore Society.

Material Culture Henry Glassie, George Jevremovic, and William T. Sumner, editors
(Note: there is an accent egue on the c Jevremovic)

Contents:
The Potter s Art
Bangladesh
Sweden
Georgia
Acoma
Turkey
Japan
Hagi
Work in the Clay
Acknowledgments
Notes
Bibliography
Index"

Telling the stories of many generations and reflecting cultures everywhere, folk art gives children a glimpse into the traditions and experiences of the people who created it. This book brings the fascinating world of folk art into the classroom and offers extension activities that integrate art, social studies, science, language arts, and music. The engaging, authentic, and open-ended projects, book suggestions, songs, stories, recipes, and oral history interviews introduce students to real artists working in this genre. The book also includes interesting background information. Organized into three sections, the book covers traditional art activities, projects based on natural materials, and projects involving fabric.

Aby M. Warburg (1866-1929) is recognized not only as one of the century's preeminent art and renaissance historians but also as a founder of twentieth-century methods in iconology and cultural studies in general. Warburg's 1923 lecture, first published in German in 1988 and now available in the first complete English translation, offers at once a window on his career, a formative statement of his cultural history of modernity, and a document in the ethnography of the American Southwest. This edition includes thirty-nine photographs, many of them originally presented as slides with the speech, and a rich interpretive essay by the translator. The presentation grew out of Warburg's 1895 encounter with the Hopi Indians, an experience he claimed generated his theory of the Renaissance. In this powerfully written piece, Warburg investigates the relationships among ethnography, iconography, and cultural studies to develop a multicultural history of modernity. As an independent scholar in Hamburg, Warburg led the intellectual circle that included Erwin Panofsky and Ernst Cassirer, pioneers in the investigation of cultural history through the analysis of visual art and the interpretation of symbols. When Warburg wrote this exposition, however, he was a mental patient in a Kreuzlingen sanatorium. Warburg's vulnerable state of mind lends urgency and passion to his discussion of human rationality and cultural demons.

Of all the artistic achievements of the native Americans of the Northwest Coast, totem poles are the most striking. Although other peoples in history have carved and raised commemorative columns, no other poles are so intricate and monumental. From the Tlingit settlements of Alaska to the Kwakiutl villages of Vancouver Island, this book presents hundreds of poles in vivid line drawings and in historical black-and-white and contemporary color photographs; it also explores the cultural, spiritual, and social traditions that form the context for these spectacular works of art.

The creation, use, and meaning of the masks created by the native Americans of the Northwest Coast are brought to life by an author who knows and loves the art, craft, and lore behind the masks. It is the first book devoted to a thorough explication of the techniques of mask-making and the role of the artist and his masks in the society. The reader will see the masks not in the cold light of a glass museum case, but as their people did - in the moving dramas and firelight of the long houses. Illustrated with line drawings by the author as well as with photographs, A World of Faces explores the riches of this ancient tradition, showing outstanding old masks that survive to our day. This art, almost lost, is being renewed by modern carvers of the Tlingit, Haida, Tsimshian, Kwakiutl, and Nootka tribes.

This is a collection of fifteen essays dealing with folk art and literary criticism in relation to slavery and freedom in North American history.

The Sande Society of the Mende people of Sierra Leone is a secret female regulatory society that both guards and transmits the ideals of feminine beauty so fundamental to the aesthetic criteria in Mende culture. In this eloquent and moving book, Sylvia Ardyn Boone describes the Society, its rituals and organization, and the mask worn by its members. Her book is an evocative account of Mende life and philosophy as well as a unique contribution to the study of African art, one based on African conceptions about the person and the human body. "This is a beautiful and beautifully written book. ... Boone writes in ways that reveal her evident devotion to Mende culture."-John Picton, African Affairs "A major contribution to our ethnographic understanding of Mende culture, and to understanding the way concepts of women's bodies encode cultural messages about gender relations."-E. Frances White, Women's Review of Books "A respectful approach to [the mysteries of the Sande], by an art historian who has tiptoed where anthropologists feared to tread. Radiance from the Waters deserves to be read. ... It provides something more interesting than esoteric knowledge: an extended meditation on notions of beauty and decorum and the way in which these can be translated simultaneously into art and ... advancement for women."-John Ryle, London Review of Books "The first text to illuminate the power of the feminine aesthetic in West African art."-Ms.

This text presents a comprehensive study of the Hawaiian sculptural tradition. The book documents most known extant indigenous carvings of the human figure and identifies their locations in public and private collections.The illustrations illuminate the wooden sculpture of artists whose names are unknown. This revised edition includes pieces discovered since the first edition.

A celebration of female inventiveness and aesthetic sensibility, Shedding the Shackles explores women's craft enterprises, their artisanal excellence, and the positive impact their individual projects have on breaking the poverty cycle. In the first part of the twentieth century, suffering from a legacy inherited from the Victorian era, craft skills, such as weaving, sewing, embroidery, and quilting were regarded largely as women's domestic pastimes, and remained undervalued and marginalised. It has taken several decades for attitudes to change, for the boundaries between 'fine art' and craft to blur, and for textile crafts to be given the same respect and recognition as other media. Featuring artisans and projects from across the globe Shedding the Shackles celebrates their vision and motivation giving a fascinating glimpse into how these craft initiatives have created a sustainable lifestyle, and impacted upon their communities at a deeper level.

Over 360 authentic copyright-free designs adapted from Navajo blankets and rugs, painted wooden masks, decorated moccasins, Hopi pottery, Sioux buffalo hides, more. Geometrics, symbolic figures, plant and animal motifs, etc. Copyright-free.

This book invites readers into a growing, dynamic conversation among scholars and critics around a vibrant community of artists from an African American South. This constellation of creative makers includes familiar figures, such as Thornton Dial Sr., Lonnie Holley, and quiltmakers Nettie Young and Mary Lee Bendolph, whose work is collected in major museum and private collections. The artists represented extend to lesser-known but equally compelling creators working across a wide range of artistic forms, themes, and geographies. The essays gathered here, accompanied by a generous selection of full-color plates, survey subjects such as the artists' engagement with enslavement and liberation, the spiritual and religious dimensions of their work, the technical aspects such as the common use of "assemblage" as an artistic medium, the links between art and biography, and the evolving status of their reception in narratives of contemporary, modern, southern, and American art. Contributors are Celeste-Marie Bernier, Laura Bickford, Michael J. Bramwell, Elijah Heyward, Sharon P. Holland, and Pamela J. Sachant.

Coiled grass baskets are icons of Gullah culture. From their roots in Africa, through their evolution on Lowcountry rice plantations, to their modern appreciation as art objects sought by collectors and tourists, these vessels are carriers of African American history and the African-inspired culture that took hold along the coast of South Carolina and neighboring states.Row Upon Row, the first comprehensive history of this folk art, remains a classic in the field. The fourth edition brings the narrative into the twenty-first century, with a chapter describing current challenges to the survival of the time-honored tradition. The artform continues to adapt to the changing consumer market, the availability of materials, economic opportunities, and most recently, the widening of the highway near the majority of basket stands. As globalization transforms the world, the coiled basket in all its iterations retains its power as a local symbol of individual identity and cultural distinction. A preface is provided by Jane Przybysz, executive director of the McKissick Museum at the University of South Carolina.

The movement of a work of art from artist's studio to gallery, to collector, and to curator sometimes follows a clear and distinct route, easily discernable from start to finish. In other cases, the trail twists and turns, traveling a number of byways before arriving at its destination. The details of negotiations surrounding the acquisition of a collection, the purchase or commission of art from individual artists, and sales involving dealers are usually arranged quietly, out of the public's view.

In this collection of essays, the Museum of International Folk Art and, in particular, the Diane and Sandy Besser Collection of folk and tribal art serve as touchstones for understanding the journey of an artwork from its place of origin to a private collection, and finally to a museum that conserves, presents, and interprets its collections for the benefit of the public. Each essay examines the collecting process from a different perspective: collector, dealer, artist, curator, museum director, or lawyer. Writing from these varied viewpoints, the authors share their experiences, using examples drawn from their personal and professional lives. The volume's contributors offer readers a glimpse behind the scenes into the roles and relationships that influence the transfer of private collections.

"On Collecting" is illustrated with images of the Besser collection, which includes ceramics, textiles, beadwork, miniature bronzes, masks, bultos (three-dimensional wood-carvings of saints), and retablos (painted devotional images) from New Mexico, as well as intricately carved dagger handles, slingshots, ceremonial objects, curing dolls, and jewelry from around the globe. The book contributes to a greater understanding of the collecting process and the convoluted courtship rituals involving collectors, donors, museum staff, and board members. These essays illuminate the challenges faced by museums of all sizes that engage in the complex ethical, legal, emotional, and intellectual process by which privately held collections are transferred to the public trust.

Joyce Ice was the director of the Museum of International Folk Art in Santa Fe, New Mexico from 1999-2008. Other contributors are Sandy Besser, Daniel H. Cook, Susannah Evans, Arthur Lopez, Tey Marianna Nunn, Carmella Padilla, and Luis Tapia.

The sale of goods falsely represented as authentic Indian-produced arts and crafts has been a persistent and potentially growing problem in the United States. At least 1.9 million members of federally recognised Indian tribes live in the United States, some of whom are artisans who create pottery, baskets, rugs and other types of arts and crafts for sale to wholesalers, retailers or the public directly at Indian art shows and markets. Misrepresentation by sale of inauthentic products created by non-Indians, including imports from foreign countries, is a matter of great concern to Indian artisans, who may have to reduce their prices or lose sales because of competition from lower-priced imitation products. This book explores the misrepresentation problem of American Indian artisans which extends beyond tangible arts and crafts to include other types of traditional knowledge and cultural expression, such as song, dance and writings.

Discover the romance of tramp art, folk art made made from discarded wooden cigar boxes, layer upon layer, one notch at a time, by untrained artists using simple tools and recycled materials. Tramp art crafters representing over 40 nationalities carved tramp art in America. It was also practiced throughout the world wherever cigars were smoked. These artists transformed the discarded boxes into pieces of utility and wonder. Never before has the subject been studied in such depth. Over 600 color photographs document 100s of items, ranging from picture frames and mirrors, to boxes, bureaus, and fantasy pieces. The designs and colors reflect a naive sensibility and aesthetic that is at once charming and beautiful. Here is a rich assemblage of the history of the art form and a thorough the study of the artists' lives and work. Misguided romantic mythologies long associated with tramp art are dispelled to leave an accurate picture of these noble notchers. A foreword by award-winning author and art historian Barbara Goldsmith sets the stage, and the pages that follow both celebrate the art and deepen our understanding of its roots and practitioners. This book will be treasured by folk art lovers everywhere.

A romantic view of 19th-century Canada -- a domestic complement to the work of Bartlett, Constable, and Kane.Anthony Flower (1792-1875) lived and worked in New Brunswick for most of his life. A farmer with a lifelong passion for art, he painted until his death at the age of eighty-three. His work opens a window on a time and place now gone. His paintings depict the life that he saw around him in rural New Brunswick and the events and scenes described in newspapers of the day.Anthony Flower's art was among the first in New Brunswick to depict rural New Brunswick. Through his paintings, we learn about day-to-day life, religion, how people dressed, what their interests were, and what was important to them, all important pieces to our understanding of everyday life in nineteenth-century Canada.Une vue romantique du Canada du XIXe siAcle. Un complA (c)ment domestique au travail de Bartlett, Constable et Kane.Anthony Flower (1792-1875) a vA (c)cu et travaillA (c) au Nouveau-Brunswick pendant la majeure partie de sa vie. Agriculteur passionnA (c) par l'art, il peint jusqu'A sa mort A l'Acge de quatre-vingt-trois ans. Son travail ouvre une fenAtre sur un temps et un lieu disparu. Ses peintures dA (c)peignent la vie qu'il a vue autour de lui dans les rA (c)gions rurales du Nouveau-Brunswick et les A (c)vA (c)nements et scAnes dA (c)crits dans les journaux de l'A (c)poque.L'art d'Anthony Flower a A (c)tA (c) parmi les premiers A reprA (c)senter le Nouveau-Brunswick rural. A travers ses peintures, nous apprenons la vie quotidienne, la religion, la faAon dont les gens s'habillent, quels sont leurs intA (c)rAts et ce qui est important pour eux, autant d'A (c)lA (c)ments importants pour notre comprA (c)hension de la vie quotidienne au Canada au XIXe siAcle.

Self-taught Georgia artist Eddie Owens Martin (1908-86), known as St. EOM, created a visionary art site called Pasaquan in the mid-1950s in Marion County, Georgia. Covering seven acres, this evocative and fanciful site has captured the imaginations of thousands of visitors. Pasaquan includes six buildings connected by concrete walls, all of which are adorned with the artist's vibrant, psychedelic folk art of bold, transfixing patterns, spiritual and tribal imagery, and exuberant depictions of nature. According to St. EOM, his art arose from a vision he experienced in his mid-twenties, while suffering from a high fever. The first of many visionary experiences, it featured a godlike being who offered to be Martin's spiritual guide. Subsequent visions inspired him to begin making art and, eventually, to create a spiritual compound dedicated to a peaceful future for humankind. St. EOM enlarged his house to twice its original size by adding a long rear section covered inside and out with his rainbow-hued murals, mandalas, and relief sculptures. On the grounds he built a series of structures including a circular dance platform, some small temples, several totems, and a two-story pagoda, all in his wildly ornamental style. He also created more than two thousand freestanding pieces, including paintings, sculptures, and drawings. In the thirty years since St. EOM's death, the Pasaquan Preservation Society worked to preserve the compound, which had fallen into neglect. In 2014 the Kohler Foundation and Columbus State University partnered with the society to restore the visionary art site for future generations. It is now listed on the National Register of Historic Places.

Although Franz Boas--one of the most influential anthropologists of the twentieth century--is best known for his voluminous writings on cultural, physical, and linguistic anthropology, he is also recognized for breaking new ground in the study of so-called primitive art. His writings on art have major historical value because they embody a profound change in art history. Nineteenth-century scholars assumed that all art lay on a continuum from primitive to advanced: artworks of all nonliterate peoples were therefore examples of early stages of development. But Boas's case studies from his own fieldwork in the Pacific Northwest demonstrated different tenets: the variety of history, the influence of diffusion, the symbolic and stylistic variation in art styles found among groups and sometimes within one group, and the role of imagination and creativity on the part of the artist. This volume presents Boas's most significant writings on art (dated 1889-1916), many originally published in obscure sources now difficult to locate. The original illustrations and an extensive, combined bibliography are included. Aldona Jonaitis's careful compilation of articles and the thorough historical and theoretical framework in which she casts them in her introductory and concluding essays make this volume a valuable reference for students of art history and Northwest anthropology, and a special delight for admirers of Boas.

Mexico's love of celebration is well known, and cartoneria, a kind of papier-mache art, produces the objects that are essential to Mexican holidays and festivals, including Day of the Dead, Holy Week, and Christmas. Just about everyone knows what a pinata is, but few understand that it is part of an entire branch of traditional handcrafts. With more than 120 photos and bilingual English/Spanish text, here is the history of the craft, how it is woven through Mexican culture, and how the craft is growing and changing. Learn about the traditional objects made with the technique and their importance to Mexican culture. Look inside the studios of several artisans and consider not only the craft's strongholds in Mexico City and Celaya, Guanajuato, but also other areas in Mexico where it is expanding in creativity. A variety of artisans (more than 50 artists, museum directors, and other experts) help identify who the main drivers of this folk art are today, its relevance to modern Mexican culture, and where it is headed.