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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." 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 whose children also carve; and the Yorok-Karok basket weavers, who explain that relatives generally taught them to weave.”
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250:, 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." 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.
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biases to reflect this aim. 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." This dichotomous representation of the culture is typically visible in the final product.
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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.
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902:. 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.” 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.
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372:" 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.
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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
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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
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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
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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,
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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
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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
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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. As a folk art, these objects share several characteristics that distinguish them from other artifacts of material
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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
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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."
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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
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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.
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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."
334:, for example, suffered from an undiagnosed congenital illness, making formal art schooling a challenge. Despite barriers to formal education, Lewis became one of Canada's most famous folk artists, creating thousands of paintings of life in
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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
289:. 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
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under two or more labels. 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.
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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
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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
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Teaching of the craft through informal means outside of institutions has opened the genre to artists who may face barrier to entry in other disciplines. Canadian folk artist
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MM Hoque and SS Mostafizur Rahman, Wari-Bateshwer, Banglapedia: The
National Encyclopedia of Bangladesh, Asiatic Society of Bangladesh, Dhaka, Retrieved; 11 January 2013
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where knowledge and skills were personal and traditional." Folk art does not need to be old; it continues to be hand-crafted today in many regions around the world.
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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
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Joyce, Rosemary (1992). ""Fame don't make the Sun any cooler": Folk artists and the
Marketplace". In Vlach, John Michael; Bronner, Simon (eds.).
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405:. The list below includes a sampling of different materials, forms, and artisans involved in the production of everyday and folk art objects.
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passes for acceptable folk art." Historically, the training in a handicraft was done as apprenticeships with local craftsmen, such as the
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Vlach, John
Michael (1992). "Properly Speaking: The need for Plain Talk about Folk Art". In Vlach, John Michael; Bronner, Simon (eds.).
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artists are often self-taught, and their work is usually developed in isolation or in small communities across the country. The
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are celebrated around the world to encourage and support the education and community engagement of diverse ethnic communities.
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Vlach, John
Michael; Bronner, Simon (1992). "Introduction to the New Edition". In Vlach, John Michael; Bronner, Simon (eds.).
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878:, exhibited folk and mass-produced consumer objects alongside contemporary art in an early instance of the popularisation of
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1483:"'GREAT MASTERS OF MEXICAN FOLK ART' EXHIBIT TO OPEN AT UN HEADQUARTERS ON 10 APRIL | Meetings Coverage and Press Releases"
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319:. As the equipment and tools needed were no longer readily available in the community, these traditional crafts moved into
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reflect the cultural life of a community. The art form encompasses the expressive culture associated with the fields of
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Santino, Jack (1992). "Tradition and
Creativity in Halloween Folk Art". In Vlach, John Michael; Bronner, Simon (eds.).
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2045:"INDUSTRIALIZING FOLK ART Aesthetic Transformation in Alois Riegl's Volkskunst, HausfleiĂź und Hausindustrie (1894)"
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115:. Definitions vary, but generally the objects have practical utility of some kind, rather than being exclusively
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Moriarty, Catherine (2017-11-30). "Popular Art, Pop Art, and 'the Boys who Turn out the Fine Arts'".
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The craft-person works within an established cultural framework. The folk art has a recognizable
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Kubler, George (1980). "The Arts: Fine and Plain". In Quimby, Ian M.G.; Swank, Scott T. (eds.).
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119:. The makers of folk art are typically trained within a popular tradition, rather than in the
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Glassie, Henry (1992). "The Idea of Folk Art". In Vlach, John
Michael; Bronner, Simon (eds.).
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in 2014. A conventional idea of folk art, though no doubt made in quasi-industrial conditions.
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Congdon, Kristin (1986). "Finding the
Tradition in Folk Art: An Art Educator's Perspective".
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can include objects which historically are crafted and used within a traditional community.
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Vlach, John Michael (1996). "Index of American Design". In Brunvand, Jan Harald (ed.).
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2003:
1986:
1884:"The "Text/Context" Controversy and the Emergence of Behavioral Approaches in Folklore"
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that "every man-made thing arises from a problem as a purposeful solution." Written by
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Art produced from an indigenous culture or by peasants or other laboring tradespeople
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CIOFF: International Council of Organizations of Folklore Festivals and Folk Arts
2247:
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Bauman, Richard (1971). "Differential Identity and the Social Base of Folklore".
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CIOFF: International Council of Organizations of Folklore Festivals and Folk Arts
782:
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Volk ohne Buch. Studien zur Sozialgeschichte der populaeren Lesestoffe 1770–1910
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This article is about tangible folk art objects. For performance folk arts, see
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Folk artworks, styles and motifs have inspired various artists. For example,
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tradition of the culture. There is often overlap, or contested ground with '
52:, England, c. 1745, salt-glazed stoneware. 7 1/2 Ă— 8 3/8 in. (19.1 Ă— 21.3 cm)
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learned and taught informally or formally; folk artists are not self-taught.
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Folk Housing in Middle Virginia: Structural Analysis of Historic Artifacts
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Living Folklore: Introduction to the Study of People and their Traditions
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Wertkin, Gerard C. (2004). "Introduction". In Wertkin, Gerald C. (ed.).
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Congdon, Kristin G. (1996). "Art, Folk". In Brunvand, Jan Harald (ed.).
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Grasping Things : Folk Material Culture and Mass Society in America
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IOV International Organization of Folk Art, in partnership with UNESCO
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recognizable within its cultural framework as being of a known type.
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Folklore An Encyclopedia of Beliefs, Customs, Tales, Music, and Art
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Folklore An Encyclopedia of Beliefs, Customs, Tales, Music, and Art
1795:
Bronner, Simon J. (1986). "Folk Objects". In Oring, Elliott (ed.).
1772:
Folklore An Encyclopedia of Beliefs, Customs, Tales, Music, and Art
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1149:, p. 95, 2003 (2nd edn), Thames & Hudson, World of Art series,
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Jones, Michael Owen (1997). "Art, Folk". In Green, Thomas (ed.).
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Vlach, John (1997). "Material Culture". In Green, Thomas (ed.).
1439:. Massey, Anne, 1956-, Seago, Alex. London, UK. pp. 25–47.
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Ben-Amos, Dan (1997a). "Performance". In Green, Thomas (ed.).
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2195:. Logan, Utah: Utah State University Press. pp. xv–xxxi.
2115:. Logan, Utah: Utah State University Press. pp. 151–169.
1979:. Logan, Utah: Utah State University Press. pp. 225–241.
1925:. Logan, Utah: Utah State University Press. pp. 269–274.
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Collection: "Folk, Self-Taught, Amateur, and Visionary Art"
2204:. Logan, Utah: Utah State University Press. pp. 13–26.
198:
stick carved with national coat of arms, a common motif in
1943:. Berkeley, Los Angeles, London: University of California.
402:
2213:. New York, London: Garland Publishing. pp. 389–390.
2005:
The shape of time : Remarks on the History of Things
1877:. Bloomington and Indianapolis: Indiana University Press.
650:
991:
Folk Art and Ethnological Museum of Macedonia and Thrace
899:
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1839:. New York, London: Garland Publishing. pp. 46–53.
1045:
2253:. New York, London: Routledge. pp. xxvii–xxxiii.
185:
2164:"'Crafts Assistance Programs' and Traditional Crafts"
844:
was inspired by African tribal sculptures and masks.
1517:
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at the Whitechapel Gallery in London as part of the
277:
is a type of paper mache art native to Paete in the
1803:. Logan, UT: Utah State University Press. pp.
370:
The Shape of Time: Remarks on the History of Things
2269:
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2002:
1845:
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2092:. Chicago: University of Chicago Press. pp.
1854:. Chicago: University of Chicago Press. pp.
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1799:Folk Groups And Folklore Genres: An Introduction
1147:The Thames & Hudson Dictionary of Art Terms
388:
2009:. New Haven and London: Yale University Press.
874:. This exhibition, along with her publication
835:
382:exceptional in the form and decorative motifs.
361:must be, or have originally been, utilitarian;
2346:
2332:
2272:Keywords: A Vocabulary of Culture and Society
261:houses over 70 folk and self-taught artists.
2190:
2152:
1934:. Bloomington, IN: Indiana University Press.
900:International Organization of Folk Art (IOV)
301:
1820:. Lexington: University Press of Kentucky.
890:The United Nations recognizes and supports
885:
401:that have been part of one of their annual
2339:
2325:
2073:: CS1 maint: location missing publisher (
1467:: CS1 maint: location missing publisher (
949:(Northern Malay Peninsular folk art dance)
375:
2186:. Logan, UT: Utah State University Press.
2157:. Logan, UT: Utah State University Press.
2061:Volkskunst, Hausfleiss, und Hausindustrie
1767:
395:Center for Folklife and Cultural Heritage
341:
306:The design and production of folk art is
248:Volkskunst, Hausfleiss, und Hausindustrie
2267:
2226:. Santa Barbara, CA: ABC-CLIO. pp.
2153:Sims, Martha; Stephens, Martine (2005).
1956:. Santa Barbara, CA: ABC-CLIO. pp.
1811:
1776:. Santa Barbara, CA: ABC-CLIO. pp.
1434:
1091:Abby Aldrich Rockefeller Folk Art Museum
848:and others were inspired by traditional
354:
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189:
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79:
67:
55:
40:
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2181:
2124:. Frankfurt am Main 1970: Klostermann.
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1081:Folk Art Center and Guild, Asheville NC
127:'. "Folk art" is not used in regard to
14:
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2090:Folklore and Folklife: an Introduction
2042:
2013:
2000:
1983:
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1852:Folklore and Folklife: an Introduction
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1052:Pennsylvania Folklore: Woven Together
917:
2312:University of Michigan Museum of Art
1390:"Outliers and American Vanguard Art"
1241:
1239:
862:In 1951, artist, writer and curator
212:Objects of folk art are a subset of
1379:
1120:
186:Characteristics of folk art objects
34:. For the album by Joe Lovano, see
24:
2211:American Folklore, an Encyclopedia
1837:American Folklore, an Encyclopedia
1288:The Journal of Aesthetic Education
380:The object is recognized as being
25:
2726:
2296:
2249:Encyclopedia of American Folk Art
2014:Pocius, Gerald L. (1995). "Art".
1992:. New York: Winterthur. pp.
1988:Perspectives on American folk art
1941:The Handmade Object and its Maker
1252:. Toronto: Art Canada Institute.
1236:
2276:. USA: Oxford University Press.
2016:The Journal of American Folklore
1741:The Journal of American Folklore
1520:
1086:Museum of International Folk Art
894:around the world, in particular
1499:
1475:
1428:
1407:
1366:
1353:
1340:
1327:
1314:
1279:
1266:
1076:Smithsonian American Art Museum
1041:National Endowment for the Arts
1024:
953:Mexican handcrafts and folk art
907:National Endowment for the Arts
264:
259:Smithsonian American Art Museum
225:
2651:Motif-Index of Folk-Literature
2052:Kakanien Revisited: Emergenzen
1223:
1210:
1185:
1172:
1159:
1136:
1107:
13:
1:
1730:
1577:John William "Uncle Jack" Dey
1007:Folk art of the United States
359:The known type of the object
154:From a European perspective,
60:"Gran calavera eléctrica" by
2088:. In Dorson, Richard (ed.).
1939:Jones, Michael Owen (1975).
1850:. In Dorson, Richard (ed.).
1614:(Japanese folk art movement)
1425:, Hatii, retrieved 19/2/2012
1101:
960:(Wider Malay folk art dance)
937:(Japanese folk art movement)
389:Materials, forms, and crafts
7:
1906:. Univ of Tennessee Press.
1812:Bronner, Simon J. (1986a).
1513:
1249:Maud Lewis: Life & Work
1031:Folk Art Society of America
836:Influence on mainstream art
230:The object is created by a
72:"Old Bright, The Postman",
10:
2731:
2645:Aarne–Thompson–Uther Index
2640:Morphology (folkloristics)
2268:Williams, Raymond (1985).
1193:"Folk and Self-Taught Art"
1059:National Folk Organization
1054:TV Program on textile arts
905:In the United States, the
205:
29:
2627:
2591:
2538:
2468:
2413:
2355:
996:Folk Art Museum of Patras
866:organised the exhibition
302:Workshops and apprentices
2184:The Dynamics of Folklore
2144:: CS1 maint: location (
2120:Schenda, Rudolf (1970).
2082:Roberts, Warren (1972).
2043:Rahmen, Sabrina (2007).
1547:American Folk Art Museum
1506:UNESCO Mission Statement
1071:American Folk Art Museum
898:in partnership with the
886:Supporting organizations
876:The Unsophisticated Arts
368:and published in 1962, "
2202:Folk Art and Art Worlds
2193:Folk Art and Art Worlds
2182:Toelken, Barre (1996).
2113:Folk Art and Art Worlds
2001:Kubler, George (1962).
1977:Folk Art and Art Worlds
1930:Glassie, Henry (1999).
1923:Folk Art and Art Worlds
1902:Glassie, Henry (1976).
1844:Glassie, Henry (1972).
1592:Latin American Retablos
1394:National Gallery of Art
868:Black Eyes and Lemonade
725:Vernacular architecture
702:Truck art in South Asia
547:Latin American Retablos
397:has compiled a page of
376:Aesthetics of the genre
194:Detail of 17th century
111:made in the context of
2162:Teske, Robert (1986).
1882:Gabbert, Lisa (1999).
1117:, p. xxxiv-xxxvi)
985:Folk arts of Karnataka
342:Owned by the community
282:
203:
151:
101:
84:Traditional styles of
77:
65:
53:
2059:Riegl, Alois (1894).
1875:Interpreting Folklore
1873:Dundes, Alan (1980).
1699:Vaillancourt Folk Art
1659:Pakistani vehicle art
355:Utility of the object
272:
193:
145:
135:continue to be made.
129:traditional societies
83:
71:
62:José Guadalupe Posada
59:
50:Staffordshire figures
44:
1415:Goncharova Biography
1246:Cronin, Ray (2021).
1016:Appalachian folk art
236:or team of artisans.
208:Concepts in folk art
179:Intangible folk arts
107:covers all forms of
1143:Lucie-Smith, Edward
1002:Native American Art
872:Festival of Britain
757:Related terminology
64:, Mexico, 1900–1913
2715:Visual arts genres
2505:Luminous gemstones
2400:Personal narrative
1607:Madhubani painting
1528:Visual Arts portal
1437:Pop art and design
1421:2009-07-20 at the
1065:Museum Collections
918:Regional folk arts
912:Folklife festivals
846:Natalia Goncharova
636:Recycled materials
577:Madhubani painting
403:folklife festivals
283:
204:
156:Edward Lucie-Smith
152:
102:
78:
66:
54:
2692:
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2283:978-0-19-520469-8
2171:New York Folklore
1620:(Korean folk art)
1376:, p. 240 ff)
1259:978-1-4871-0267-8
1182:, p. xxviii)
943:(Korean folk art)
892:cultural heritage
778:Folk Environments
321:technical schools
175:Tangible folk art
171:cultural heritage
16:(Redirected from
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1096:Shelburne Museum
930:Chinese folk art
925:African folk art
552:Leather crafting
296:communal society
246:in his study of
214:material culture
133:ethnographic art
36:Folk Art (album)
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1669:Rebecca Couch
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1654:Phad painting
1652:
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1644:North Malabar
1642:
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1634:Nakshi Kantha
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436:Boat building
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291:Simon Bronner
288:
287:mass-produced
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88:pottery from
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19:
2657:Storytelling
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2405:Urban legend
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2019:
2015:
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1674:Rural crafts
1649:Outsider art
1501:
1490:. Retrieved
1486:
1477:
1436:
1430:
1414:
1409:
1397:. Retrieved
1393:
1374:Roberts 1972
1368:
1355:
1348:Glassie 1992
1342:
1335:Toelken 1996
1329:
1324:, p. 8)
1316:
1291:
1287:
1281:
1268:
1248:
1225:
1218:Bronner 1986
1212:
1200:. Retrieved
1196:
1187:
1180:Wertkin 2004
1174:
1167:Wertkin 2004
1161:
1146:
1138:
1131:Wertkin 2004
1115:Wertkin 2004
1109:
1051:
1025:Associations
904:
889:
882:in Britain.
875:
867:
861:
839:
820:Vanguard art
796:Outsider art
760:
750:Wood carving
587:Metalworking
392:
379:
358:
345:
329:
325:applied arts
305:
284:
265:Hand crafted
252:
247:
229:
226:Folk artists
219:works of art
211:
161:
153:
137:
113:folk culture
104:
103:
90:Székely Land
74:George Smart
2614:Folk healer
2470:Folk belief
2363:Animal tale
1587:Kuthiyottam
1361:Pocius 1995
1322:Kubler 1962
792:Outlier art
740:Wheelwright
542:Kuthiyottam
481:Coppersmith
336:Nova Scotia
279:Philippines
244:Alois Riegl
18:Folk artist
2699:Categories
2684:Vernacular
2609:Folk devil
2568:Folk music
2558:Folk dance
2488:Folk saint
2478:Birthstone
2390:Tall tales
2373:Fairy tale
1847:"Folk Art"
1731:References
1719:Yakshagana
1714:Wire craft
1694:Tribal art
1492:2019-04-08
1487:www.un.org
1274:Vlach 1992
1231:Vlach 1992
1155:0500203652
974:Tribal art
816:Tribal art
811:Trench art
730:Wainwright
715:Treenwaren
687:Tile maker
669:Stonemason
608:Needlework
597:Miniatures
592:Millwright
471:Clockmaker
446:Broommaker
441:Brickmaker
431:Blacksmith
332:Maud Lewis
317:stonemason
313:blacksmith
117:decorative
109:visual art
2667:Knowledge
2662:Tradition
2619:Folk hero
2573:Folk play
2553:Folk epic
2540:Folk arts
2510:Mythology
2495:Ghostlore
2460:Word game
2356:Narrative
2140:cite book
2069:cite book
2063:. Berlin.
1709:Whirligig
1689:Tramp art
1629:NaĂŻve art
1597:Ljuskrona
1463:cite book
1455:928487681
1294:(3): 95.
1102:Citations
806:Tramp art
788:NaĂŻve art
768:Americana
745:Whirligig
659:Shoemaker
655:Sculpture
641:Ropemaker
599:or Models
567:Locksmith
562:Ljuskrona
520:Furniture
456:Carpentry
451:Cabinetry
426:Bellmaker
327:schools.
222:culture.
202:folk art.
200:Norwegian
163:Folk arts
146:American
125:naive art
105:Folk art
46:Pew group
32:Folk arts
2705:Folk art
2672:Medicine
2628:See also
2604:Fakelore
2583:Foodways
2548:Folk art
2348:Folklore
1664:Pasaquan
1639:Nose art
1572:Guy Cobb
1537:Alebrije
1514:See also
1419:Archived
998:, Greece
947:Mak Yong
773:Art brut
697:Tinsmith
682:Thatcher
678:Textiles
651:Sawsmith
631:Quilting
621:Pewterer
617:Painting
534:Ironwork
524:Gunsmith
511:Foodways
461:Ceramics
421:Basketry
416:Armourer
411:Alebrije
255:outsider
196:calendar
167:folklore
121:fine art
98:Budapest
76:, c1830s
2592:Society
2445:Proverb
2395:Parable
2310:at the
2094:233–252
1856:253–280
1679:Theyyam
1567:Ex-voto
1557:Chillum
1399:11 June
1308:3332437
1202:11 June
987:(India)
981:(India)
969:Theyyam
880:pop art
855:called
850:Russian
720:Turning
664:Spooner
646:Saddler
613:Origami
582:Masonry
538:Jewelry
516:Fraktur
506:Farrier
501:Ex-voto
466:Chillum
315:or the
234:artisan
232:single
148:sampler
94:Romania
86:faience
2520:Ritual
2455:Saying
2450:Riddle
2385:Legend
2280:
2257:
2234:
2230:–544.
2128:
2100:
2036:541654
2034:
1964:
1910:
1862:
1824:
1784:
1761:539731
1759:
1618:Minhwa
1612:Mingei
1453:
1443:
1306:
1256:
1153:
941:Minhwa
935:Mingei
896:UNESCO
857:luboks
735:Weaver
692:Tinker
674:Tanner
486:Cutler
476:Cooper
150:, 1831
131:where
2677:Story
2428:False
2368:Fable
2167:(PDF)
2048:(PDF)
2032:JSTOR
1996:–246.
1960:–60.
1887:(PDF)
1807:–223.
1780:–35.
1757:JSTOR
1602:Lubok
1304:JSTOR
958:Joget
707:Tools
572:Lubok
240:style
2435:Joke
2378:list
2278:ISBN
2255:ISBN
2232:ISBN
2146:link
2126:ISBN
2098:ISBN
2075:link
1962:ISBN
1908:ISBN
1860:ISBN
1822:ISBN
1782:ISBN
1469:link
1451:OCLC
1441:ISBN
1401:2020
1254:ISBN
1204:2020
1197:SAAM
1151:ISBN
711:Toys
275:taka
273:The
169:and
2228:540
2024:doi
2020:108
1994:234
1805:199
1778:630
1749:doi
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