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Relevant bibliographies by topics / Museum of American Folk Art

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Academic literature on the topic 'Museum of American Folk Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Museum of American Folk Art"

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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Brody, David Eric. "The Building of a Label: The New American Folk Art Museum." American Quarterly 55, no. 2 (2003): 257–76. http://dx.doi.org/10.1353/aq.2003.0011.

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Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.

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Kirwin, Liza. "Plain Painters: Making Sense of American Folk Art. John Michael VlachThe Spirit of Folk Art: The Girard Collection at the Museum of International Folk Art. Henry Glassie." Archives of American Art Journal 31, no. 1 (1991): 31–34. http://dx.doi.org/10.1086/aaa.31.1.1557701.

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Rosa, John. "Small Numbers/Big City: Innovative Presentations of Pacific Islander Art and Culture in Phoenix, Arizona." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 59–78. http://dx.doi.org/10.36650/nexus5.1_59-78_rosa.

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This resource paper provides an overview of how the small but growing Pacific Islander and Asian American community in Phoenix has sustained, developed, and preserved its culture and art in the absence of a permanent AAPI art or cultural museum. This article gives examples of such alternative formats and includes details on dance, music, and other folk cultural practices. Metropolitan statistical areas with AAPI populations comparable to Phoenix include Minneapolis, Atlanta, and Dallas. Phoenix community groups use small, temporary displays at annual AAPI cultural festivals. One approach is a ?museum on wheels? ? a used tour bus filled with certified reproductions of artifacts on loan from the Bishop Museum in Honolulu. Native Hawaiians also collaborate with the more numerous Native American organizations that can provide venues for indigenous arts. Universities and state humanities councils are frequent sources of funding for AAPI artists. MSAs with Pacific Islander populations most comparable to Phoenix (in the range of 10,000 to 15,000) are the U.S. Southwestern cities of Las Vegas and Salt Lake City. Pacific Islanders in these cities might be most likely to employ display formats and strategies similar to those used in Phoenix.

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Brown, Douglas. "Encyclopedia of American Folk Art2004277Edited by Gerard C. Wertkin. Encyclopedia of American Folk Art. New York, NY and London: Routledge 2004. xxxiii + 612 pp., ISBN: 0 415 92986 5 £120 $125 Published in association with the American Folk Art Museum." Reference Reviews 18, no. 5 (2004): 44–45. http://dx.doi.org/10.1108/09504120410543264.

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Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.

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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Pleasant, Iowa. Since that time, the Museum of Repertoire Americana has prospered, and it currently houses an impressive collection of uniquely American research materials. Dedicated to preserving the rural theatrical heritage of the Midwest, the Museum has materials related to opera houses, circle stock companies, Uncle Tom shows, showboats, and tent shows of all descriptions. I offer here a brief description of the collection, together with information about the National Society for the Preservation of Tent, Folk, and Repertoire Theatre and the annual Theatre History Seminar this organization holds at the Museum each April.

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Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (2020): 7. http://dx.doi.org/10.3390/arts9010007.

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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century.

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Kumar, Lal Bahadur. "MADHUBANI FOLK PAINTINGS AND AMAZING COMBINATION OF COLORS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3573.

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Through the Madhubani Lak Chitrakala of Mithilanchal, the tradition of Lakkitra is still being maintained. The art of the art is dynamic even today, based on the Sh वंशi dynasty tradition. Madhubani paintings are in great demand abroad but they are neglected in their own country. It is unfortunate that those who have skills in their hands are poor on the rural artist. The country's art world did not get noticed, while "Hasebhawa of Japan has established the Mithila Museum on a hill in Niigata, northwest of the capital Takia." "Hasegawa", a Japanese art admirer and art connoisseur, has visited India more than twenty five times. He also went to the residence of many famous artists of Madhubani paintings and discussed the combination of techniques and colors with the artists of Mithila and Madhubani paintings. After understanding, Mithila artists went to Japan with them and also painted them. Apart from this, many artists visiting America, England, South Africa, France, Germany, Mauritius have made people aware of this art and have raised the value of the country. मिथिलांचल की मधुबनी ल¨क चित्र्ाकला के माध्यम से ल¨कचित्र्ा परम्परा का निर्वाह आज भी किया जा रहा है। यहाँ की ल¨क कला श्©ली वंश परम्परा के आधार पर आज भी गतिशील है। मधुबनी ल¨क चित्र्ाकला की विदेश¨ं में काफी मांग है ल्¨किन वह अपने ही देश में उपेक्षित है। दुर्भाग्य की बात है कि जिनके हाथ में हुनर है, वे ग्रामीण कलाकार आमत©र पर गरीब हैं। देश के कला-जगत् की नजर इस पर नहीं गई, जबकि ‘‘जापान के हासेभावा ने राजधानी ट¨किय¨ से उत्तर-पश्चिम में स्थित निगाता में एक पहाड़ी पर मिथिला म्यूजियम की स्थापना की है। जापान के कला के मर्मज्ञ एवं कला पारखी ‘‘हासेगावा’’ पच्चीस से अधिक बार भारत आ चुके हैं। वे मधुबनी ल¨क चित्र्ाकला के कई सुप्रसिद्ध कलाकार¨ं के आवास पर भी गए अ©र मिथिला के कलाकार¨ं से मधुबनी ल¨क चित्र्ाकला के माध्यम व तकनीक एवं रंग¨ं के संय¨जन पर चर्चा की अ©र उनक¨ समझने के बाद मिथिला कलाकार¨ं क¨ अपने साथ जापान ल्¨ जाकर चित्र्ा रचना भी कराई। इसके अलावा अमेरिका, इंग्ल्©ण्ड, दक्षिण अफ्रीका, फ्रांस, जर्मनी, मॉरीशस जाकर कई कलाकार¨ं ने इस ल¨क कला श्©ली से ल¨ग¨ं क¨ अवगत कराया अ©र देश का मान बढ़ाया है।

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Benedetti, Joan. "MADE WITH PASSION: THE HEMPHILL FOLK ART COLLECTION IN THE NATIONAL MUSEUM OF AMERICAN ART. Lynda Roscoe Hartigan , Andrew L. Connors , Elizabeth Tisdel Holmstead , Tonia L. Horton." Art Documentation: Journal of the Art Libraries Society of North America 10, no. 2 (1991): 114–15. http://dx.doi.org/10.1086/adx.10.2.27948345.

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Dissertations / Theses on the topic "Museum of American Folk Art"

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Wong, Ngai-leung Aman, and 黃毅樑. "Museum of Guangdong folk art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198552X.

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Wong, Ngai-leung Aman. "Museum of Guangdong folk art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594552x.

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Poe, Preston. "American folk." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000590.

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Carpenter, Lisa. "Folk into Art: John Fahey, Modernism and the American Folk Revival." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.

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John Fahey’s music holds a distinct place in the mid-century folk revival--distinct because he is difficult to fit in with traditional narratives of the revival. John Fahey created a unique musical style through incorporation of traditional American music with classical music forms. His musical “quotations” and renditions of American blues, folk, ragtime, Protestant hymns, and parlor songs did not merely revive traditional music, but gave it new form and newfound respect in order to further artistic exploration. Fahey was a musical modernist, infusing tradition with the new. Fahey’s work can be situated in the context of modernist/folk connections that began earlier in the century.

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Einreinhofer, Nancy. "The paradox of the American art museum." Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/35302.

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Dobler, Robert. "New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.

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The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sense of stability in the aftermath of loss. The re-integration of the bereaved, through mourning, back into society in new relation with the departed is often assisted by these vernacular memorial forms. My analysis focuses on three specific forms of commemoration: spirit photographs, ghost bikes, and memorial tattoos. These are vernacular forms of expression in the sense that they have emerged from and cater to individual needs and desires that are not satisfied by the more official and uniform materials and processes of mourning, such as the funeral service and subsequent visits to a gravesite or contemplation of an ash-filled urn. The power of these memorial forms rests in the adaptive and restorative abilities of memory to retain the lost relationship and to pull it forward and reconstitute it in a changed state as enduring and continuing into the future. When faced with the sudden death of a loved one, the traditional rituals that surround modern death may seem too rigid and homogenized to satisfy the wide array of emotions demanding attention in the bereaved. This is where the vernacular rituals and new forms of commemoration discussed in this dissertation spring up and make themselves known. Highly individual, yet often publicly and politically motivated, these new American ways of interpreting death and performing mourning represent the changing needs of contemporary mourners. As death has become increasingly hidden away and discussion of it rendered taboo, the need for personal and direct interaction with the processes of grief and mourning have become more and more important.<br>2016-09-29

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Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /." NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.

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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.

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Brooks, Queen E. "The ties that bind : art of an African American artist." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.

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Macaluso, Rose E. "The Smithsonian Institute Smithsonian American Art Museum registration internship." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/aa_rpts/88.

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This detailed report of a registration internship at the Smithsonian American Art Museum includes an organizational profile of the Smithsonian Institute, the Smithsonian Institute Affiliate Program, and the Smithsonian American Art Museum, a description of the activities performed during the internship, an analysis of a volunteer management challenge, a proposed resolution to the volunteer management challenge, and a discussion of the short and long term effects of the internship. The duties and expectations of volunteers, the staff preparation for volunteers, and the empowerment of volunteers are important aspects of the analysis and resolution of the volunteer management challenge.

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Galliher, Allison. "Early American Silver at the Currier Museum of Art." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078350.

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This project-based thesis has added five stops and an introduction to American Silver to the Currier Museum of Art’s mobile tour. The Museum has an extensive silver collection but has very little information readily available for its visitors in the galleries. This thesis provides those visitors with information about the Currier’s American silver collection. It uses the Currier’s current mobile application as a template while incorporating museum education teaching methods to create an engaging tour. The thesis begins with a history of silver in America from Colonial times to the start of the nineteenth century. This time period is best represented in the Currier’s American silver collection. The thesis discusses the role and development of the silversmith as a craftsman as well as the social history of silver in America during this period. It also discusses the use and advantages of using mobile technology in the museum setting. Many visitors already own mobile devices. Museums can take advantage of visitors’ familiarity with these tools by creating programs specifically for this technology. The tour itself is based on teaching methods outlined by the museum educator George E. Hein in his book: Learning in the Museum (1998). These methods are used to build upon the standards set by the Currier Museum of Art’s “Audience Engagement and Interpretation Philosophy” in order to make the tour more engaging for visitors. Articles by museum technology professionals Robert Stein and Nancy Proctor were also consulted when researching the best practices for mobile tours. Their work lays out many key elements for successful mobile applications including the use of media assets, stops where these assets are experienced and the connections used to move between the stops. The accessibility benefits of mobile technology for visitors, especially the use of audio recordings for visitors with disabilities, are also discussed and were taken into account when creating the tour.

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Books on the topic "Museum of American Folk Art"

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Lee, Kogan, and Cate Barbara, eds. Treasures of folk art: Museum of American Folk Art. Abbeville Press, 1994.

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Rosenak, Chuck. Museum of American Folk Art encyclopedia of twentieth-century American folk art and artists. Abbeville Press, 1990.

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Museum, American Folk Art, ed. Folk art needlepoint: 20 projects adapted from the American Folk Art Museum. Potter Craft, 2008.

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C, Hollander Stacy, and Anderson Brooke Davis, eds. American anthem: Masterworks from the American Folk Art Museum. American Folk Art Museum, 2001.

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Museum, American Folk Art. American anthem: Masterworks from the American Folk Art Museum. Edited by Hollander Stacy C and Anderson Brooke Davis. American Folk Art Museum, 2001.

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author, Hollander Stacy C., and Rousseau Valérie author, eds. Self-taught genius: Treasures from the American Folk Art Museum. American Folk Art Museum, 2014.

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Museum of Fine Arts, Boston., ed. American folk: Folk art from the collection of the Museum of Fine Arts, Boston. MFA Publications, 2001.

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Hirschl & Adler Folk (Gallery). Masterpieces of American folk art: April 10 to May 9, 1987 ; organized by the Museum of American Folk Art. Hirschl & Adler Folk, 1987.

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Art, San Antonio Museum of. Arte del pueblo: Recent acquisitions of Latin American folk art. San Antonio Museum of Art, 1988.

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V, Warren Elizabeth, and Eisenstat Sharon L, eds. Glorious American quilts: The quilt collection of the Museum of American Folk Art. Penguin Studio in association with Museum of American Folk Art, 1996.

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Book chapters on the topic "Museum of American Folk Art"

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Hanks, Laura Hourston. "China Academy of Art's Folk Art Museum, Hangzhou, China." In New Museum Design. Routledge, 2021. http://dx.doi.org/10.4324/9780429435591-3.

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Ezeluomba, Ndubuisi C. "The development of the exhibition of African art in American art museums." In Museum Innovation. Routledge, 2021. http://dx.doi.org/10.4324/9781003038184-4.

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Wallach, Alan. "The Birth of the American Art Museum." In The American Bourgeoisie. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230115569_15.

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Wilbert, Johannes. "Folk Literature of South American Indians: A Multivolume Series of Verbal Art." In Die heutige Bedeutung oraler Traditionen / The Present-Day Importance of Oral Traditions. VS Verlag für Sozialwissenschaften, 1998. http://dx.doi.org/10.1007/978-3-322-83676-2_30.

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Szekely, Pedro, Craig A. Knoblock, Fengyu Yang, et al. "Connecting the Smithsonian American Art Museum to the Linked Data Cloud." In The Semantic Web: Semantics and Big Data. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-38288-8_40.

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Tarigo-Bonizzoni, Liliana. "Study of the Open-Air Museum of Ibero-American Art of San Gregorio de Polanco, Uruguay." In Cultural and Creative Mural Spaces. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_7.

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Chudzicka, Dorota. "The Dealer and the Museum: C. T. Loo (1880–1957), the Freer Gallery of Art, and the American Asian Art Market in the 1930s and 1940s." In Kunst sammeln, Kunst handeln. Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205791997.243.

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Vlach, John Michael. "American Folk Art." In Critical Issues in American Art. Routledge, 2018. http://dx.doi.org/10.4324/9780429501203-7.

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Yau, Elaine Y. "Black/Folk/Art." In The Routledge Companion to African American Art History. Routledge, 2019. http://dx.doi.org/10.4324/9781351045193-28.

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"The Modern Art Museum." In The Evolution of Taste in American Collecting. Penn State University Press, 2016. http://dx.doi.org/10.5325/j.ctv14gp1tr.22.

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Conference papers on the topic "Museum of American Folk Art"

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Rogacheva, Ksenia, Andrea Brivio, and Liliya Rogacheva. "SCHOOL MUSEUM OF “RUSSIAN FOLK ART” INTERACTIVE GUIDEBOOK FOR PRIMARY SCHOOLCHILDREN." In 10th annual International Conference of Education, Research and Innovation. IATED, 2017. http://dx.doi.org/10.21125/iceri.2017.0210.

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Reports on the topic "Museum of American Folk Art"

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Miller, Naomi J., and Scott M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian American Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1044507.

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