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Folk art

Folk art covers all forms of visual art made in the context of folk culture. Definitions vary, but generally the objects have practical utility of some kind, rather than being exclusively decorative. The makers of folk art are typically trained within a popular tradition, rather than in the fine art tradition of the culture. There is often overlap, or contested ground[1] with 'naive art'. "Folk art" is not used in regard to traditional societies where ethnographic art continue to be made.

Pew group of Staffordshire figures, England, c. 1745, salt-glazed stoneware. 7 1/2 × 8 3/8 in. (19.1 × 21.3 cm)
"Gran calavera eléctrica" by José Guadalupe Posada, Mexico, 1900–1913
"Old Bright, The Postman", George Smart, c1830s
Traditional styles of faience pottery from Székely Land, Romania, on sale in Budapest in 2014. A conventional idea of folk art, though no doubt made in quasi-industrial conditions.

The types of objects covered by the term "folk art" vary. The art form is categorised as "divergent... of cultural production ... comprehended by its usage in Europe, where the term originated, and in the United States, where it developed for the most part along very different lines."[2]

American sampler, 1831

For a European perspective, Edward Lucie-Smith described it as "Unsophisticated art, both fine and applied, which is supposedly rooted in the collective awareness of simple people. The concept of folk art is a distinctly 19th-century one. Today it carries with it a tinge of nostalgia for pre-industrial society."[3]

Folk arts reflect the cultural life of a community. The art form encompasses the expressive culture associated with the fields of folklore and cultural heritage. Tangible folk art can include objects which historically are crafted and used within a traditional community. Intangible folk arts can include such forms as music and art galleries , dance and narrative structures. Each of these art forms, both tangible and intangible, typically were developed to address a practical purpose. Once the purpose has been lost or forgotten, there usually is no reason for further transmission unless the object or action has been imbued with meaning beyond its initial practicality. These artistic traditions are shaped by values and standards that are passed from generation to generation, most often within family and community, through demonstration, conversation, and practice.

Characteristics of folk art objects

 
Detail of 17th century calendar stick carved with national coat of arms, a common motif in Norwegian folk art.

Objects of folk art are a subset of material culture and include objects which are experienced through the senses, by seeing and touching. Typical for material culture in art, these tangible objects can be handled, repeatedly re-experienced, and sometimes broken. They are considered works of art because of the technical execution of an existing form and design; the skill might be seen in the precision of the form, the surface decoration or in the beauty of the finished product.[4] As a folk art, these objects share several characteristics that distinguish them from other artifacts of material culture.

Folk artists

The object is created by a single artisan or team of artisans. The craft-person works within an established cultural framework. The folk art has a recognizable style and method in crafting its pieces, which allows products to be recognized and attributed to a single individual or workshop. This was originally articulated by Alois Riegl in his study of Volkskunst, Hausfleiss, und Hausindustrie, published in 1894. "Riegl ... stressed that the individual hand and intentions of the artist were significant, even in folk creativity. To be sure, the artist may have been obliged by group expectations to work within the norms of transmitted forms and conventions, but individual creativity – which implied personal aesthetic choices and technical virtuosity – saved received or inherited traditions from stagnating and permitted them to be renewed in each generation."[5] Individual innovation in the production process plays an important role in the continuance of these traditional forms. Many folk art traditions like quilting, ornamental picture framing, and decoy carving continue to be practiced, and new forms continue to emerge.

Contemporary outsider artists are often self-taught, and their work is usually developed in isolation or in small communities across the country. The Smithsonian American Art Museum houses over 70 folk and self-taught artists.[6]

Hand crafted

 
The taka is a type of paper mache art native to Paete in the Philippines.

Folk art objects are usually produced in a one-off production process. Only one object is made at a time, either by hand or in a combination of hand and machine methods, and are not mass-produced. As a result of manual production, individual pieces are considered to be unique and usually can be differentiated from other objects of the same type. In his essay on "Folk Objects", folklorist Simon Bronner references preindustrial modes of production, but folk art objects continue to be made as unique crafted pieces by folk artisans. "The notion of folk objects tends to emphasize the handmade over machine manufactured. Folk objects imply a mode of production common to preindustrial communal society where knowledge and skills were personal and traditional."[7] Folk art does not need to be old; it continues to be hand-crafted today in many regions around the world.

Workshops and apprentices

The design and production of folk art is learned and taught informally or formally; folk artists are not self-taught.[citation needed] Folk art does not aim for individualistic expression. Instead, "the concept of group art implies, indeed requires, that artists acquire their abilities, both manual and intellectual, at least in part from communication with others. The community has something, usually a great deal, to say about what passes for acceptable folk art."[8] Historically, the training in a handicraft was done as apprenticeships with local craftsmen, such as the blacksmith or the stonemason. As the equipment and tools needed were no longer readily available in the community, these traditional crafts moved into technical schools or applied arts schools.

Owned by the community

The object is recognizable within its cultural framework as being of a known type. Similar objects can be found in the environment made by other individuals which resemble this object. Individual pieces of folk art will reference other works in the culture, even as they show exceptional individual execution in form or design. If antecedents cannot be found for this object, it might still be a piece of art but it is not folk art. "While traditional society does not erase ego, it does focus and direct the choices that an individual can acceptably make… the well-socialized person will find the limits are not inhibiting but helpful… Where traditions are healthy the works of different artists are more similar than they are different; they are more uniform than personal."[9] Tradition in folk art emerges through the passing of information from one generation to another. Through generations of family lines, family members pass down the knowledge, information, skills and tools needed to continue the creation of one’s folk art. Examples are Leon “Peck” Clark, a Mississippi basket maker, who learned his skills from a community member; George Lopez of Cordova, New Mexico, who is a sixth-generation santos carver who’s children also carve; and the Yorok-Karok basket weavers, who explain that relatives generally taught them to weave.” [10]

Utility of the object

The known type of the object must be, or have originally been, utilitarian; it was created to serve some function in the daily life of the household or the community. This is the reason the design continues to be made. Since the form itself had function and purpose, it was duplicated over time in various locations by different individuals. A book on the history of art states that "every man-made thing arises from a problem as a purposeful solution."[11] Written by George Kubler and published in 1962, "The Shape of Time: Remarks on the History of Things" describes an approach to historical change which places the history of objects and images in a larger continuum of time. The purpose of folk art is not purely decorative or aimed to have duplicated handicraft. However, since the form itself was a distinct type with its function and purpose, folk art has continued to be copied over time by different individuals.

Aesthetics of the genre

The object is recognized as being exceptional in the form and decorative motifs. Being part of the community, the craftsperson is reflecting on the community's cultural aesthetics, and may take into consideration the community's response to the handicraft. An object can be created to match the community's expectations, and the artist may design the product with unspoken cultural biases to reflect this aim.[12] While the shared form indicates a shared culture, innovation can enable the individual artisan to embody their own vision. This can be a representation of manipulating collective and individual culture, within the traditional folk art production. "For art to progress, its unity must be dismantled so that certain of its aspects can be freed for exploration, while others shrink from attention."[13] This dichotomous representation of the culture is typically visible in the final product.[14]

Materials, forms, and crafts

Folk art is designed in different shapes, sizes and forms. It traditionally uses the materials which are at hand in the locality and reproduces familiar shapes and forms. The Smithsonian Center for Folklife and Cultural Heritage has compiled a page of storied objects that have been part of one of their annual folklife festivals. The list below includes a sampling of different materials, forms, and artisans involved in the production of everyday and folk art objects.[15]

Related terminology

Listed below are a wide-ranging assortment of labels for an eclectic group of art works. All of these genres are created outside of the institutional structures of the art world, and are not considered "fine art". There is overlap between these labeled collections, such that an object might be listed under two or more labels.[2] Many of these groupings and individual objects might also resemble "folk art" in its aspects, however may not align to the defining characteristics outlined above.


Influence on mainstream art

Folk artworks, styles and motifs have inspired various artists. For example, Pablo Picasso was inspired by African tribal sculptures and masks. Natalia Goncharova and others were inspired by traditional Russian popular prints called luboks.[17]

In 1951, artist, writer and curator Barbara Jones organised the exhibition Black Eyes and Lemonade at the Whitechapel Gallery in London as part of the Festival of Britain. This exhibition, along with her publication The Unsophisticated Arts, exhibited folk and mass-produced consumer objects alongside contemporary art in an early instance of the popularisation of pop art in Britain.[18]

Supporting organizations

The United Nations recognizes and supports cultural heritage around the world,[19] in particular UNESCO in partnership with the International Organization of Folk Art (IOV). Their declared mission is to “further folk art, customs and culture around the world through the organization of festivals and other cultural events, … with emphasis on dancing, folk music, folk songs and folk art.”[20] By supporting international exchanges of folk art groups as well as the organization of festivals and other cultural events, their goal is promote international understanding and world peace.

In the United States, the National Endowment for the Arts works to promote greater understanding and sustainability of cultural heritage across the United States and around the world through research, education, and community engagement. As part of this, they identify and support NEA folk art fellows in quilting, ironwork, woodcarving, pottery, embroidery, basketry, weaving, along with other related traditional arts. The NEA guidelines define as criteria for this award a display of “authenticity, excellence, and significance within a particular tradition” for the artists selected. (NEA guidelines) .” In 1966, the NEA’s first year of funding, support for national and regional folk festivals was identified as a priority with the first grant made in 1967 to the National Folk Festival Association. Folklife festivals are celebrated around the world to encourage and support the education and community engagement of diverse ethnic communities.

Regional folk arts

Associations

Museum Collections

Citations

  1. ^ (Wertkin 2004, p. xxxiv-xxxvi)
  2. ^ a b (Wertkin 2004, p. xxxii)
  3. ^ Lucie-Smith, Edward, The Thames & Hudson Dictionary of Art Terms, p. 95, 2003 (2nd edn), Thames & Hudson, World of Art series, ISBN 0500203652
  4. ^ (Wertkin 2004, p. xxx)
  5. ^ (Wertkin 2004, p. xxviii)
  6. ^ "Folk and Self-Taught Art". SAAM. Retrieved 11 June 2020.
  7. ^ (Bronner 1986, p. 214)
  8. ^ (Vlach 1992, p. 19)
  9. ^ (Vlach 1992, p. 20)
  10. ^ Congdon, Kristin (1986). "Finding the Tradition in Folk Art: An Art Educator's Perspective". The Journal of Aesthetic Education. 20 (3): 95. doi:10.2307/3332437. JSTOR 3332437.
  11. ^ (Kubler 1962, p. 8)
  12. ^ (Toelken 1996, p. 221)
  13. ^ (Glassie 1992, p. 271)
  14. ^ (Pocius 1995, p. 421)
  15. ^ (Roberts 1972, p. 240 ff)
  16. ^ a b "Outliers and American Vanguard Art". National Gallery of Art. Retrieved 11 June 2020.
  17. ^ Goncharova Biography 2009-07-20 at the Wayback Machine, Hatii, retrieved 19/2/2012
  18. ^ Moriarty, Catherine (2017-11-30). "Popular Art, Pop Art, and 'the Boys who Turn out the Fine Arts'". Pop art and design. Massey, Anne, 1956-, Seago, Alex. London, UK. pp. 25–47. ISBN 9781474226189. OCLC 928487681.
  19. ^ "'GREAT MASTERS OF MEXICAN FOLK ART' EXHIBIT TO OPEN AT UN HEADQUARTERS ON 10 APRIL | Meetings Coverage and Press Releases". www.un.org. Retrieved 2019-04-08.
  20. ^ UNESCO Mission Statement

See also

References

  • Bauman, Richard (1971). "Differential Identity and the Social Base of Folklore". The Journal of American Folklore. 84 (331): 31–41. doi:10.2307/539731. JSTOR 539731.
  • Ben-Amos, Dan (1997a). "Performance". In Green, Thomas (ed.). Folklore An Encyclopedia of Beliefs, Customs, Tales, Music, and Art. Santa Barbara, CA: ABC-CLIO. pp. 630–35. ISBN 9780874369861.
  • Bronner, Simon J. (1986). "Folk Objects". In Oring, Elliott (ed.). Folk Groups And Folklore Genres: An Introduction. Logan, UT: Utah State University Press. pp. 199–223.
  • Bronner, Simon J. (1986a). Grasping Things : Folk Material Culture and Mass Society in America. Lexington: University Press of Kentucky. ISBN 9780813115726.
  • Congdon, Kristin G. (1996). "Art, Folk". In Brunvand, Jan Harald (ed.). American Folklore, an Encyclopedia. New York, London: Garland Publishing. pp. 46–53.
  • Glassie, Henry (1972). "Folk Art". In Dorson, Richard (ed.). Folklore and Folklife: an Introduction. Chicago: University of Chicago Press. pp. 253–280. ISBN 9780226158709.
  • Dundes, Alan (1980). Interpreting Folklore. Bloomington and Indianapolis: Indiana University Press.
  • Gabbert, Lisa (1999). "The "Text/Context" Controversy and the Emergence of Behavioral Approaches in Folklore" (PDF). Folklore Forum. 30 (112): 119–128.
  • Glassie, Henry (1976). Folk Housing in Middle Virginia: Structural Analysis of Historic Artifacts. Univ of Tennessee Press. ISBN 9780870491733.
  • Glassie, Henry (1992). "The Idea of Folk Art". In Vlach, John Michael; Bronner, Simon (eds.). Folk Art and Art Worlds. Logan, Utah: Utah State University Press. pp. 269–274.
  • Glassie, Henry (1999). Material Culture. Bloomington, IN: Indiana University Press.
  • Jones, Michael Owen (1975). The Handmade Object and its Maker. Berkeley, Los Angeles, London: University of California.
  • Jones, Michael Owen (1997). "Art, Folk". In Green, Thomas (ed.). Folklore An Encyclopedia of Beliefs, Customs, Tales, Music, and Art. Santa Barbara, CA: ABC-CLIO. pp. 56–60. ISBN 9780874369861.
  • Joyce, Rosemary (1992). ""Fame don't make the Sun any cooler": Folk artists and the Marketplace". In Vlach, John Michael; Bronner, Simon (eds.). Folk Art and Art Worlds. Logan, Utah: Utah State University Press. pp. 225–241.
  • Kubler, George (1980). "The Arts: Fine and Plain". In Quimby, Ian M.G.; Swank, Scott T. (eds.). Perspectives on American folk art. New York: Winterthur. pp. 234–246.
  • Kubler, George (1962). The shape of time : Remarks on the History of Things. New Haven and London: Yale University Press.
  • Pocius, Gerald L. (1995). "Art". The Journal of American Folklore. 108 (430): 413–431. doi:10.2307/541654. JSTOR 541654.
  • Rahmen, Sabrina (2007). "INDUSTRIALIZING FOLK ART Aesthetic Transformation in Alois Riegl's Volkskunst, Hausfleiß und Hausindustrie (1894)" (PDF). Kakanien Revisited: Emergenzen.
  • Riegl, Alois (1894). Volkskunst, Hausfleiss, und Hausindustrie. Berlin.
  • Roberts, Warren (1972). "Folk Crafts". In Dorson, Richard (ed.). Folklore and Folklife: an Introduction. Chicago: University of Chicago Press. pp. 233–252. ISBN 9780226158709.
  • Santino, Jack (1992). "Tradition and Creativity in Halloween Folk Art". In Vlach, John Michael; Bronner, Simon (eds.). Folk Art and Art Worlds. Logan, Utah: Utah State University Press. pp. 151–169.
  • Schenda, Rudolf (1970). Volk ohne Buch. Studien zur Sozialgeschichte der populaeren Lesestoffe 1770–1910. Frankfurt am Main 1970: Klostermann. ISBN 3-465-01836-2.{{cite book}}: CS1 maint: location (link)
  • Sims, Martha; Stephens, Martine (2005). Living Folklore: Introduction to the Study of People and their Traditions. Logan, UT: Utah State University Press.
  • Teske, Robert (1986). "'Crafts Assistance Programs' and Traditional Crafts" (PDF). New York Folklore. 12.
  • Toelken, Barre (1996). The Dynamics of Folklore. Logan, UT: Utah State University Press.
  • Vlach, John Michael; Bronner, Simon (1992). "Introduction to the New Edition". In Vlach, John Michael; Bronner, Simon (eds.). Folk Art and Art Worlds. Logan, Utah: Utah State University Press. pp. xv–xxxi.
  • Vlach, John Michael (1992). "Properly Speaking: The need for Plain Talk about Folk Art". In Vlach, John Michael; Bronner, Simon (eds.). Folk Art and Art Worlds. Logan, Utah: Utah State University Press. pp. 13–26.
  • Vlach, John Michael (1996). "Index of American Design". In Brunvand, Jan Harald (ed.). American Folklore, an Encyclopedia. New York, London: Garland Publishing. pp. 389–390.
  • Vlach, John (1997). "Material Culture". In Green, Thomas (ed.). Folklore An Encyclopedia of Beliefs, Customs, Tales, Music, and Art. Santa Barbara, CA: ABC-CLIO. pp. 540–544. ISBN 9780874369861.
  • Wertkin, Gerard C. (2004). "Introduction". In Wertkin, Gerald C. (ed.). Encyclopedia of American Folk Art. New York, London: Routledge. pp. xxvii–xxxiii. ISBN 9780415929868.
  • Williams, Raymond (1985). Keywords: A Vocabulary of Culture and Society. USA: Oxford University Press. ISBN 978-0-19-520469-8.
  • MM Hoque and SS Mostafizur Rahman, Wari-Bateshwer, Banglapedia: The National Encyclopedia of Bangladesh, Asiatic Society of Bangladesh, Dhaka, Retrieved; 11 January 2013

External links

  • CIOFF: International Council of Organizations of Folklore Festivals and Folk Arts
  • Collection: "Folk, Self-Taught, Amateur, and Visionary Art" at the University of Michigan Museum of Art

folk, this, article, about, tangible, folk, objects, performance, folk, arts, album, lovano, folk, album, covers, forms, visual, made, context, folk, culture, definitions, vary, generally, objects, have, practical, utility, some, kind, rather, than, being, exc. This article is about tangible folk art objects For performance folk arts see Folk arts For the album by Joe Lovano see Folk Art album Folk art covers all forms of visual art made in the context of folk culture Definitions vary but generally the objects have practical utility of some kind rather than being exclusively decorative The makers of folk art are typically trained within a popular tradition rather than in the fine art tradition of the culture There is often overlap or contested ground 1 with naive art Folk art is not used in regard to traditional societies where ethnographic art continue to be made Pew group of Staffordshire figures England c 1745 salt glazed stoneware 7 1 2 8 3 8 in 19 1 21 3 cm Gran calavera electrica by Jose Guadalupe Posada Mexico 1900 1913 Old Bright The Postman George Smart c1830s Traditional styles of faience pottery from Szekely Land Romania on sale in Budapest in 2014 A conventional idea of folk art though no doubt made in quasi industrial conditions The types of objects covered by the term folk art vary The art form is categorised as divergent of cultural production comprehended by its usage in Europe where the term originated and in the United States where it developed for the most part along very different lines 2 American sampler 1831For a European perspective Edward Lucie Smith described it as Unsophisticated art both fine and applied which is supposedly rooted in the collective awareness of simple people The concept of folk art is a distinctly 19th century one Today it carries with it a tinge of nostalgia for pre industrial society 3 Folk arts reflect the cultural life of a community The art form encompasses the expressive culture associated with the fields of folklore and cultural heritage Tangible folk art can include objects which historically are crafted and used within a traditional community Intangible folk arts can include such forms as music and art galleries dance and narrative structures Each of these art forms both tangible and intangible typically were developed to address a practical purpose Once the purpose has been lost or forgotten there usually is no reason for further transmission unless the object or action has been imbued with meaning beyond its initial practicality These artistic traditions are shaped by values and standards that are passed from generation to generation most often within family and community through demonstration conversation and practice Contents 1 Characteristics of folk art objects 1 1 Folk artists 1 2 Hand crafted 1 3 Workshops and apprentices 1 4 Owned by the community 1 5 Utility of the object 1 6 Aesthetics of the genre 2 Materials forms and crafts 3 Related terminology 4 Influence on mainstream art 5 Supporting organizations 6 Regional folk arts 7 Associations 8 Museum Collections 9 Citations 10 See also 11 References 12 External linksCharacteristics of folk art objects Edit Detail of 17th century calendar stick carved with national coat of arms a common motif in Norwegian folk art Main article Concepts in folk art Objects of folk art are a subset of material culture and include objects which are experienced through the senses by seeing and touching Typical for material culture in art these tangible objects can be handled repeatedly re experienced and sometimes broken They are considered works of art because of the technical execution of an existing form and design the skill might be seen in the precision of the form the surface decoration or in the beauty of the finished product 4 As a folk art these objects share several characteristics that distinguish them from other artifacts of material culture Folk artists Edit The object is created by a single artisan or team of artisans The craft person works within an established cultural framework The folk art has a recognizable style and method in crafting its pieces which allows products to be recognized and attributed to a single individual or workshop This was originally articulated by Alois Riegl in his study of Volkskunst Hausfleiss und Hausindustrie published in 1894 Riegl stressed that the individual hand and intentions of the artist were significant even in folk creativity To be sure the artist may have been obliged by group expectations to work within the norms of transmitted forms and conventions but individual creativity which implied personal aesthetic choices and technical virtuosity saved received or inherited traditions from stagnating and permitted them to be renewed in each generation 5 Individual innovation in the production process plays an important role in the continuance of these traditional forms Many folk art traditions like quilting ornamental picture framing and decoy carving continue to be practiced and new forms continue to emerge Contemporary outsider artists are often self taught and their work is usually developed in isolation or in small communities across the country The Smithsonian American Art Museum houses over 70 folk and self taught artists 6 Hand crafted Edit The taka is a type of paper mache art native to Paete in the Philippines Folk art objects are usually produced in a one off production process Only one object is made at a time either by hand or in a combination of hand and machine methods and are not mass produced As a result of manual production individual pieces are considered to be unique and usually can be differentiated from other objects of the same type In his essay on Folk Objects folklorist Simon Bronner references preindustrial modes of production but folk art objects continue to be made as unique crafted pieces by folk artisans The notion of folk objects tends to emphasize the handmade over machine manufactured Folk objects imply a mode of production common to preindustrial communal society where knowledge and skills were personal and traditional 7 Folk art does not need to be old it continues to be hand crafted today in many regions around the world Workshops and apprentices Edit The design and production of folk art is learned and taught informally or formally folk artists are not self taught citation needed Folk art does not aim for individualistic expression Instead the concept of group art implies indeed requires that artists acquire their abilities both manual and intellectual at least in part from communication with others The community has something usually a great deal to say about what passes for acceptable folk art 8 Historically the training in a handicraft was done as apprenticeships with local craftsmen such as the blacksmith or the stonemason As the equipment and tools needed were no longer readily available in the community these traditional crafts moved into technical schools or applied arts schools Owned by the community Edit The object is recognizable within its cultural framework as being of a known type Similar objects can be found in the environment made by other individuals which resemble this object Individual pieces of folk art will reference other works in the culture even as they show exceptional individual execution in form or design If antecedents cannot be found for this object it might still be a piece of art but it is not folk art While traditional society does not erase ego it does focus and direct the choices that an individual can acceptably make the well socialized person will find the limits are not inhibiting but helpful Where traditions are healthy the works of different artists are more similar than they are different they are more uniform than personal 9 Tradition in folk art emerges through the passing of information from one generation to another Through generations of family lines family members pass down the knowledge information skills and tools needed to continue the creation of one s folk art Examples are Leon Peck Clark a Mississippi basket maker who learned his skills from a community member George Lopez of Cordova New Mexico who is a sixth generation santos carver who s children also carve and the Yorok Karok basket weavers who explain that relatives generally taught them to weave 10 Utility of the object Edit The known type of the object must be or have originally been utilitarian it was created to serve some function in the daily life of the household or the community This is the reason the design continues to be made Since the form itself had function and purpose it was duplicated over time in various locations by different individuals A book on the history of art states that every man made thing arises from a problem as a purposeful solution 11 Written by George Kubler and published in 1962 The Shape of Time Remarks on the History of Things describes an approach to historical change which places the history of objects and images in a larger continuum of time The purpose of folk art is not purely decorative or aimed to have duplicated handicraft However since the form itself was a distinct type with its function and purpose folk art has continued to be copied over time by different individuals Aesthetics of the genre Edit The object is recognized as being exceptional in the form and decorative motifs Being part of the community the craftsperson is reflecting on the community s cultural aesthetics and may take into consideration the community s response to the handicraft An object can be created to match the community s expectations and the artist may design the product with unspoken cultural biases to reflect this aim 12 While the shared form indicates a shared culture innovation can enable the individual artisan to embody their own vision This can be a representation of manipulating collective and individual culture within the traditional folk art production For art to progress its unity must be dismantled so that certain of its aspects can be freed for exploration while others shrink from attention 13 This dichotomous representation of the culture is typically visible in the final product 14 Materials forms and crafts EditFolk art is designed in different shapes sizes and forms It traditionally uses the materials which are at hand in the locality and reproduces familiar shapes and forms The Smithsonian Center for Folklife and Cultural Heritage has compiled a page of storied objects that have been part of one of their annual folklife festivals The list below includes a sampling of different materials forms and artisans involved in the production of everyday and folk art objects 15 Alebrije Armourer Basketry Bellmaker Blacksmith Boat building Brickmaker Broommaker Cabinetry Carpentry Ceramics Chillum Clockmaker Cooper Coppersmith Cutler Decoy carving Drystone Mason Ex voto Farrier Foodways Fraktur Furniture Gunsmith Harness maker Ironwork Jewelry Kuthiyottam Latin American Retablos Leather crafting Lei garland Ljuskrona Locksmith Lubok Madhubani painting Masonry Metalworking Millwright Miniatures or Models Nakshi Kantha Needlework Origami Painting Pewterer Phad painting Quilting Recycled materials Ropemaker Saddler Sawsmith Sculpture Shoemaker Spooner Stonemason Tanner Textiles Thatcher Tile maker Tinker Tinsmith Truck art in South Asia Tools Toys Treenwaren Turning Vernacular architecture Wainwright Weaver Wheelwright Whirligig Wood carvingRelated terminology EditListed below are a wide ranging assortment of labels for an eclectic group of art works All of these genres are created outside of the institutional structures of the art world and are not considered fine art There is overlap between these labeled collections such that an object might be listed under two or more labels 2 Many of these groupings and individual objects might also resemble folk art in its aspects however may not align to the defining characteristics outlined above Americana Art brut Folk Environments Genre paintings Naive art Outlier art 16 Outsider art Primitive art Tramp art Trench art Tribal art Vanguard art 16 Vernacular art Visionary artInfluence on mainstream art EditFolk artworks styles and motifs have inspired various artists For example Pablo Picasso was inspired by African tribal sculptures and masks Natalia Goncharova and others were inspired by traditional Russian popular prints called luboks 17 In 1951 artist writer and curator Barbara Jones organised the exhibition Black Eyes and Lemonade at the Whitechapel Gallery in London as part of the Festival of Britain This exhibition along with her publication The Unsophisticated Arts exhibited folk and mass produced consumer objects alongside contemporary art in an early instance of the popularisation of pop art in Britain 18 Supporting organizations EditThe United Nations recognizes and supports cultural heritage around the world 19 in particular UNESCO in partnership with the International Organization of Folk Art IOV Their declared mission is to further folk art customs and culture around the world through the organization of festivals and other cultural events with emphasis on dancing folk music folk songs and folk art 20 By supporting international exchanges of folk art groups as well as the organization of festivals and other cultural events their goal is promote international understanding and world peace In the United States the National Endowment for the Arts works to promote greater understanding and sustainability of cultural heritage across the United States and around the world through research education and community engagement As part of this they identify and support NEA folk art fellows in quilting ironwork woodcarving pottery embroidery basketry weaving along with other related traditional arts The NEA guidelines define as criteria for this award a display of authenticity excellence and significance within a particular tradition for the artists selected NEA guidelines In 1966 the NEA s first year of funding support for national and regional folk festivals was identified as a priority with the first grant made in 1967 to the National Folk Festival Association Folklife festivals are celebrated around the world to encourage and support the education and community engagement of diverse ethnic communities Regional folk arts EditAfrican folk art Chinese folk art Mingei Japanese folk art movement Minhwa Korean folk art Mak Yong Northern Malay Peninsular folk art dance Mexican handcrafts and folk art Joget Wider Malay folk art dance North Malabar Theyyam Tribal art Warli painting India Folk arts of Karnataka India Folk Art and Ethnological Museum of Macedonia and Thrace Folk Art Museum of Patras Greece Native American Art Folk art of the United StatesAssociations EditFolk Art Society of America IOV International Organization of Folk Art in partnership with UNESCO National Endowment for the Arts CIOFF International Council of Organizations of Folklore Festivals and Folk Arts Pennsylvania Folklore Woven Together TV Program on textile arts National Folk OrganizationMuseum Collections EditAmerican Folk Art Museum Smithsonian American Art Museum Folk Art Center and Guild Asheville NC Museum of International Folk Art Abby Aldrich Rockefeller Folk Art Museum Shelburne MuseumCitations Edit Wertkin 2004 p xxxiv xxxvi a b Wertkin 2004 p xxxii Lucie Smith Edward The Thames amp Hudson Dictionary of Art Terms p 95 2003 2nd edn Thames amp Hudson World of Art series ISBN 0500203652 Wertkin 2004 p xxx Wertkin 2004 p xxviii Folk and Self Taught Art SAAM Retrieved 11 June 2020 Bronner 1986 p 214 Vlach 1992 p 19 Vlach 1992 p 20 Congdon Kristin 1986 Finding the Tradition in Folk Art An Art Educator s Perspective The Journal of Aesthetic Education 20 3 95 doi 10 2307 3332437 JSTOR 3332437 Kubler 1962 p 8 Toelken 1996 p 221 Glassie 1992 p 271 Pocius 1995 p 421 Roberts 1972 p 240 ff a b Outliers and American Vanguard Art National Gallery of Art Retrieved 11 June 2020 Goncharova Biography Archived 2009 07 20 at the Wayback Machine Hatii retrieved 19 2 2012 Moriarty Catherine 2017 11 30 Popular Art Pop Art and the Boys who Turn out the Fine Arts Pop art and design Massey Anne 1956 Seago Alex London UK pp 25 47 ISBN 9781474226189 OCLC 928487681 GREAT MASTERS OF MEXICAN FOLK ART EXHIBIT TO OPEN AT UN HEADQUARTERS ON 10 APRIL Meetings Coverage and Press Releases www un org Retrieved 2019 04 08 UNESCO Mission StatementSee also Edit Visual Arts portalAlebrije African folk art American Folk Art Museum Chester Cornett Chillum Chinese folk art Ex voto Guy Cobb John William Uncle Jack Dey Juliana R Force Kuthiyottam Latin American Retablos Ljuskrona Lubok Madhubani painting Mingei Japanese folk art movement Minhwa Korean folk art Museum folklore Naive art Nakshi Kantha Nose art North Malabar Outsider art Phad painting Pakistani vehicle art Pasaquan Rebecca Couch Rural crafts Theyyam Thidambu Nritham Tramp art Tribal art Vaillancourt Folk Art Warli painting Whirligig Wire craft Yakshagana Czech folkloreReferences EditBauman Richard 1971 Differential Identity and the Social Base of Folklore The Journal of American Folklore 84 331 31 41 doi 10 2307 539731 JSTOR 539731 Ben Amos Dan 1997a Performance In Green Thomas ed Folklore An Encyclopedia of Beliefs Customs Tales Music and Art Santa Barbara CA ABC CLIO pp 630 35 ISBN 9780874369861 Bronner Simon J 1986 Folk Objects In Oring Elliott ed Folk Groups And Folklore Genres An Introduction Logan UT Utah State University Press pp 199 223 Bronner Simon J 1986a Grasping Things Folk Material Culture and Mass Society in America Lexington University Press of Kentucky ISBN 9780813115726 Congdon Kristin G 1996 Art Folk In Brunvand Jan Harald ed American Folklore an Encyclopedia New York London Garland Publishing pp 46 53 Glassie Henry 1972 Folk Art In Dorson Richard ed Folklore and Folklife an Introduction Chicago University of Chicago Press pp 253 280 ISBN 9780226158709 Dundes Alan 1980 Interpreting Folklore Bloomington and Indianapolis Indiana University Press Gabbert Lisa 1999 The Text Context Controversy and the Emergence of Behavioral Approaches in Folklore PDF Folklore Forum 30 112 119 128 Glassie Henry 1976 Folk Housing in Middle Virginia Structural Analysis of Historic Artifacts Univ of Tennessee Press ISBN 9780870491733 Glassie Henry 1992 The Idea of Folk Art In Vlach John Michael Bronner Simon eds Folk Art and Art Worlds Logan Utah Utah State University Press pp 269 274 Glassie Henry 1999 Material Culture Bloomington IN Indiana University Press Jones Michael Owen 1975 The Handmade Object and its Maker Berkeley Los Angeles London University of California Jones Michael Owen 1997 Art Folk In Green Thomas ed Folklore An Encyclopedia of Beliefs Customs Tales Music and Art Santa Barbara CA ABC CLIO pp 56 60 ISBN 9780874369861 Joyce Rosemary 1992 Fame don t make the Sun any cooler Folk artists and the Marketplace In Vlach John Michael Bronner Simon eds Folk Art and Art Worlds Logan Utah Utah State University Press pp 225 241 Kubler George 1980 The Arts Fine and Plain In Quimby Ian M G Swank Scott T eds Perspectives on American folk art New York Winterthur pp 234 246 Kubler George 1962 The shape of time Remarks on the History of Things New Haven and London Yale University Press Pocius Gerald L 1995 Art The Journal of American Folklore 108 430 413 431 doi 10 2307 541654 JSTOR 541654 Rahmen Sabrina 2007 INDUSTRIALIZING FOLK ART Aesthetic Transformation in Alois Riegl s Volkskunst Hausfleiss und Hausindustrie 1894 PDF Kakanien Revisited Emergenzen Riegl Alois 1894 Volkskunst Hausfleiss und Hausindustrie Berlin Roberts Warren 1972 Folk Crafts In Dorson Richard ed Folklore and Folklife an Introduction Chicago University of Chicago Press pp 233 252 ISBN 9780226158709 Santino Jack 1992 Tradition and Creativity in Halloween Folk Art In Vlach John Michael Bronner Simon eds Folk Art and Art Worlds Logan Utah Utah State University Press pp 151 169 Schenda Rudolf 1970 Volk ohne Buch Studien zur Sozialgeschichte der populaeren Lesestoffe 1770 1910 Frankfurt am Main 1970 Klostermann ISBN 3 465 01836 2 a href Template Cite book html title Template Cite book cite book a CS1 maint location link Sims Martha Stephens Martine 2005 Living Folklore Introduction to the Study of People and their Traditions Logan UT Utah State University Press Teske Robert 1986 Crafts Assistance Programs and Traditional Crafts PDF New York Folklore 12 Toelken Barre 1996 The Dynamics of Folklore Logan UT Utah State University Press Vlach John Michael Bronner Simon 1992 Introduction to the New Edition In Vlach John Michael Bronner Simon eds Folk Art and Art Worlds Logan Utah Utah State University Press pp xv xxxi Vlach John Michael 1992 Properly Speaking The need for Plain Talk about Folk Art In Vlach John Michael Bronner Simon eds Folk Art and Art Worlds Logan Utah Utah State University Press pp 13 26 Vlach John Michael 1996 Index of American Design In Brunvand Jan Harald ed American Folklore an Encyclopedia New York London Garland Publishing pp 389 390 Vlach John 1997 Material Culture In Green Thomas ed Folklore An Encyclopedia of Beliefs Customs Tales Music and Art Santa Barbara CA ABC CLIO pp 540 544 ISBN 9780874369861 Wertkin Gerard C 2004 Introduction In Wertkin Gerald C ed Encyclopedia of American Folk Art New York London Routledge pp xxvii xxxiii ISBN 9780415929868 Williams Raymond 1985 Keywords A Vocabulary of Culture and Society USA Oxford University Press ISBN 978 0 19 520469 8 MM Hoque and SS Mostafizur Rahman Wari Bateshwer Banglapedia The National Encyclopedia of Bangladesh Asiatic Society of Bangladesh Dhaka Retrieved 11 January 2013External links Edit Wikimedia Commons has media related to Folk art Wikiquote has quotations related to Folk art CIOFF International Council of Organizations of Folklore Festivals and Folk Arts Collection Folk Self Taught Amateur and Visionary Art at the University of Michigan Museum of Art Retrieved from https en wikipedia org w index php title Folk art amp oldid 1121287486, wikipedia, wiki, book, books, library,

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