Tramp art describes a particular type of wood carving practiced in the United States and Europe between the 1880s and 1940s in which discarded cigar boxes and fruit crates were notched and layered to make a variety of domestic objects. These were primarily boxes and frames in addition to small private altars, crosses, wall pockets, clock cases, plant stands, and even furniture. Whittling objects such as chains and ball-in-cage whimsies was a common hobby -- including among rail-riding hobos -- and for many years tramp art was believed to have been made by these itinerants as well. Although this notion has been widely dispelled, the name has stuck. In recent years efforts have been made to identify makers by name and reveal their stories. While some examples of tramp art may be attributed to itinerants, this carving style was more commonly a practice of working-class men creating functional objects for their households. The book presents over one hundred and fifty tramp art objects collected mainly from the United States and also including pieces from France, Germany, Switzerland, Scandinavia, Canada, Mexico, and Brazil -- demonstrating the far reach this art form has had. It includes works by contemporary artists, thus establishing tramp art as an ongoing folk art form rather than a vestige of the past. The pieces reproduced here reveal an artistic and intricate sensibility applied to each handcrafted piece. Essays consider assumptions about tramp art related to class, quality, and the anonymity of its makers and examine this practice through the lens of home and family while tracing its relationship to the tobacco industry. The book will cultivate an appreciation of an art form that is as thought-provoking as it is enduring.

The creative accomplishments of the Andean people of the highland region of South America are prominent among the folk art legacies of the world. This wide-ranging publication, examining over 850 works, is the first to present an overview of the religious, textile, costume, utilitarian, and festival folk arts made in the Andes in the nineteenth and twentieth centuries, after the Andeans were free from Spanish colonial rule. The author offers an understanding of the development of folk art during the colonial period and shows how much of the work produced after independence reflects the interweaving of indigenous craft traditions with European art forms and techniques. Drawing from the renowned collection at the Museum of International Folk Art and other private and public collections in the United States, this book includes religious paintings, sculptures, portable altars, milagros, amulets, and ritual offerings. Traditional hand woven ponchos, mantles, belts, and bags are shown, along with women's skirts, hats, and shawls adapted from the Spanish. Jewellery, wooden trunks, silverwork, majolica ceramics, carved gourds, house blessing ornaments, and toys reveal not only the craftsmanship of the work, but the ways the objects function in everyday life. Also explored are Andean festival cycles Kith lavish costumes and a variety of masks. With over 400 colour photographs, this monumental book provides a window into the rich spirit and culture of the Andeans. Published to coincide with an exhibition to open at the Museum of International Folk Art in Santa Fe, New Mexico, in April 2011.

Thirty illustrated essays highlighting a variety of Detroit artists. Essay'd 2: 30 Detroit Artists follows the welcome reception of last year's Essay'd: 30 Detroit Artists in presenting short, illustrated essays about artists who live and work in Detroit, or who have participated in the Detroit art scene in an important way. Stemming from the popular website of the same name, the first volume of Essay'd sought to introduce readers, even those who are well versed in the Detroit art ecosystem, to new insight and a fresh perspective on the city's contemporary art practitioners. The four arts writers behind Essay'd-a professor, a gallerist, and two critics-are joined in Essay'd 2 by a handful of guest writers, whose unique views offer different points of access to Detroit's diverse and populous artist community. Essay'd 2 offers thirty new profiles of artists both well known and under the radar, seasoned and emerging. Advancing the argument that there are as many kinds of Detroit art as there are individual artists, the authors write about work created in a wide range of media, from painting, photography, ceramics, and textiles to performance, installation, and architectural intervention, produced in a kaleidoscopic array of individual styles. Some of the artists this volume highlights include S. Kay Young, an attendee of the College for Creative Studies with a thirty-year photography career; multimedia artist Adam Lee Miller, who is one half of the band ADULT; fiber artist and 2015 Kresge fellow Carole Harris; and master staff carver/mosaicist David Philpot. While Detroit has long been home to a storied and industrious community of artists, there has been relatively little writing that explores, analyzes, and contextualizes their work. Now, with renewed regional, national, and international attention being paid to Detroit and its creative culture, it is more important than ever that the evolving and vital work of the city's artists be documented and made known to the wider public. The new essays collected here, written in a format that is at once in-depth and accessible, continue the authors' ongoing mission to introduce the Detroit art community to the world, one artist at a time. Art lovers and regional history buffs will appreciate this continued conversation.

Les temps anciens Thessalos fils du legendaire Hercule cherchant fortune arriva dans notre contree. Comme il venait de traverser la vallee de Tempi, la ou vivait Appolon le Dieu de la Lumiere avec sa bien aimee Daphnee, il a vu tout emerveille de s'etendre devant lui une plaine toute verte. Il ne s'imaginait pas qu'on marchant a cote de l'eau argente de la riviere de Penee il venait d' arriver a sa destination. Sur ses rives, depuis 4000 ans existe la ville de Laisse batie par le legendaire Larissos. A sa droite Olympe s'erigeait jusqu'aux nuages, residence de douze dieux. A sa gauche Ossa une montagne en forme pyramidale. Autrefois sur le sommet les geants Otos et Ephialtis ait entasse Pelion, parce qu'ils voulaient detroner Jupiter d'Olympe. Plus au fond d'autres montagnes bien hautes s'elevaient et se perdaient dans les nuages. La chaine de montagnes de Pinde ou selon la legende est nee Penee de ses larmes au moment ou les dieux voulaient la separer de son epoux Ligo parce qu'ils enviaient leur bonheur. Je veux rester ici, pensa-t-il.Ce pays merveilleux aura comme nom Thessalie Le conte commence ici Bonsoir mes amis N'importe quelle pierre tu bouges une histoire est cachee, n'importe quelle branche tu souleves elle aura un conte a te raconter. Un conte pareil on l'ecoutait aussi narre par notre grand pere et notre mere lorsqu' on etait des enfants: Alors, un jeune homme semblant a nous, cherchant sa fortune il a appris une langue extraordinaire La langue des grenouilles Lui sera-t-elle utile ou pas? Qui sait Mais n'importe quoi que l'homme apprenne a faire c'est utile, disait notre grand pere. "Apprends un metier, oublie le mais quand tu auras faim exerce le," dit un proverbe grec.

Baskets made of baleen, the fibrous substance found in the mouths of plankton-eating whales-a malleable and durable material that once had commercial uses equivalent to those of plastics today-were first created by Alaska Natives in the early years of the twentieth century. Because they were made for the tourist trade, they were initially disdained by scholars and collectors, but today they have joined other art forms as a highly prized symbol of native identity. Baskets of exquisite workmanship, often topped with fanciful ivory carvings, have been created for almost a century, contributing significantly to the livelihood of their makers in the Arctic villages of Barrow, Point Hope, Wainwright, and Point Lay, Alaska. Baleen Basketry of the North Alaskan Eskimo, originally published in 1983, was the first book on this unusual basket form. In this completely redesigned edition, it remains the most informative work on baleen baskets, covering their history, characteristics, and construction, as well as profiling their makers. Illustrations of the basketmakers at work and line drawings showing the methods of construction are a charming addition to this book, which belongs in the library of all those with an interest in the art of basketry and in Alaskan Native arts in general.

Este es el primero de una serie de libros para colorear 'YO SOY' para ninos de todas las edades, creado en colaboracion por James Roderick y Naomi Lake. Su trabajo se enfoca hacia balancear la Femineidad Divina dentro de nuestra sociedad de hoy. Este libro para colorear, YO SOY la Diosa es nuestra contribucion a incrementar la presencia y vigencia de la Femineidad Divina. Al dar color a estas paginas, usted y sus hijos invitan e invocan la esencia de la Femineidad Divina. Me fascina como este librito puede cultivar una conexion unica con cada Diosa. Zana Hart, Autora, Editora, Bibliotecaria. Una magnifica introduccion para ninos al papel esencial de la feminidad eterna en todas las culturas en la evolucion de la humanidad. Philip Incao, M.D.

Come possono convivere gli sfortunati amori di Stendhal con il mostro di via Bagnera, le leggende sulla nascita di Milano con i sanbabilini che, nel 1975, assassinarono la povera Olga Julia Calzoni, Luciano Lutring detto il solista del mitra con la monaca di Monza? Si puo raccontare la metropoli lombarda e le sue mille contraddizioni, seguendo il filo eclettico delle infinite vicende che si sono dipanate nelle sue trafficate strade? Gli autori di questo libro, forti dell'esperienza maturata con Citta Nascosta Milano (riuscita nel sorprendente intento di portare migliaia di persone a spasso, alla scoperta degli angoli piu sconosciuti della citta) pensano sia possibile. Muniti di comode scarpe e di pochi stereotipi culturali, accompagnano i lettori in un percorso alla scoperta di Milano, mettendo insieme, in un gustoso confronto, i casi di cronaca nera (Luca Steffenoni) e le bellezze artistiche (Manuela Alessandra Filippi). Due punti di vista che si alternano e spesso polemizzano con disincantato humour, yin e yang, maschile e femminile, luce ed ombra o, se preferite, due emuli della Strana coppia, che battibeccano nel tentativo di raccontare Milano a modo loro. Un libro su Milano ma non solo. La metropoli lombarda, infatti, fa da sfondo ad un caleidoscopio di vicende volutamente mescolate, ad una jam session d'umanita che fornisce una lente d'ingrandimento attraverso la quale e possibile osservare le nevrosi e le contraddizioni comuni ad ogni grande citta.

Este es el segundo de una serie de libros para colorear de "YO SOY" para ninos de todas las edades creado por James Roderick y Naomi Lake. Este libro "I AM" para colorear de Guadalupe es nuestra contribucion a incrementar la presencia y vigencia de Nuestra Senora de Guadalupe. Al dar color a estas paginas, usted y sus hijos invitan e invocan la esencia de Nuestra Senora de Guadalupe. Hemos creado este libro para colorear de "I AM" de Guadalupe con el mayor respeto y admiracion hacia Nuestra Senora de Guadalupe con el humilde deseo de traerla mas cerca a nuestros corazones.

Folk art is one of the American South's most significant areas of creative achievement, and this comprehensive yet accessible reference details that achievement from the sixteenth century through the present. This volume of The New Encyclopedia of Southern Culture explores the many forms of aesthetic expression that have characterised southern folk art, including the work of self-taught artists, as well as the South's complex relationship to national patterns of folk art collecting. Fifty-two thematic essays examine subjects ranging from colonial portraiture, Moravian material culture, and southern folk pottery to the South's rich quilt-making traditions, memory painting, and African American vernacular art, and 211 topical essays include profiles of major folk and self-taught artists in the region.

Macedonian ethnic dress is full of meaning and significance. It is visually stunning and embodies the skills, expectations, hopes and fears, creative use of materials, and aesthetic sense of the individuals who made and wore it. Saturated with cultural meaning, these many-layered ensembles rank among the best examples of textile art anywhere. This landmark catalog brings together scholarship by Macedonian experts with a museum collection in the United States and outstanding photography to present treasures of Macedonian dress from 1880 to 1950. Essays on embroidery, materials of dress, techniques of production, and hair dressing illuminate the complexities that existed in this small country at the crossroads of civilizations. The legacy of Macedonian women's hands and minds will live on in this volume for future generations to admire.

Russian Folk Art surveys the traditions, styles, and functions of the many objects made by Russian peasant artists and artisans. Placing the objects within the settings in which folk artists worked the peasant household, the village, and the local market Alison Hilton discusses the principal media artists employed and the items they produced, from dippers and goblets to clothing and window frames. Emphasizing the balance between time-honored forms and techniques and the creativity of individual artists, the book explores how images and designs helped to form a Russian esthetic identity in the 19th and 20th centuries. Abundantly illustrated with examples from Russian museums, Russian Folk Art is a treasure for anyone interested in Russian culture."

Once little known outside of Haiti, Vodou flags ("drapo Vodou"), dazzling in color and imagery, have become popular commodities in the international art market. Works by such notable Haitian artists as Silva Joseph, Antoine Oleyant, and Yves Telemak now grace the walls of museums, art galleries, and private homes throughout the world.

The fascinating, colorful collection of "drapo Vodou" included in this book reveals the importance of Vodou flags in the Haitian culture. Shimmering with sequins and reflected light, they capture the attention of Vodou practitioners and art lovers alike.

In showcasing the Vodou flags and the artists who create them, this book also offers a striking revelation of the gods ("Iwa") that inhabit the Vodou spirit world.

A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt's account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups-such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers-to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shoji, Kawai Kanjiro, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.

The fast-paced demands of a global economy make it increasingly difficult for folk and traditional artists to stay true to their heritages. All too often, artists either isolate themselves in an impossible struggle against the modern world or give up traditional methods and practices to follow current trends. "Forms of Tradition in Contemporary Spain" is a groundbreaking study of contemporary Spanish folk art and traditional artists. It charts the varied routes artists have found to evade these pitfalls while pursuing their art.

Through case studies of four considerably different kinds of artists-a traditional potter, a couple who create huge papier-mache figures for festival processions and dancing, a group of masked, costumed "devils" who enliven traditional street theatre with modern pyrotechnics, and an idiosyncratic builder of one of the most spectacular art environments known worldwide-this book broadens the existing understanding of traditional arts by creating a more realistic and expansive interpretation of tradition and the influences upon each creative act.

Featuring 142 color photographs and 9 black-and-white illustrations, this work is a major contribution to the field of art history as well as a celebration of the artists it profiles. The artists were chosen because each is emblematic of a particular tradition and each represents a distinct relationship with a given community. In addition to analyzing and describing the art and artists featured in the book, Jo Farb Hernandez uses these case studies to achieve a broader range of understanding. Breaking down old divisions in art history, she presents information which has not received much attention in the U.S. and provides access to work that was previously available only in Spanish or Catalan.

Author of books, catalogs, and articles, Jo Farb Hernandez, Watsonville, California, is the director/curator of the Natalie and James Thompson Art Gallery, School of Art and Design, San Jose State University, and is the Principal of Curatorial and Museum Management Services.