Lane Furniture Adaptation the America Collectionmuseum of American Folk Art

Museum in New York, New York

American Folk Art Museum

American Folk Art Museum
Established	June 23, 1961 (1961-06-23)
Location	2 Lincoln Square Manhattan, New York, United states of america
Coordinates	40°45′42″Due north 73°58′41″Due west  /  40.7616°N 73.9781°W  / xl.7616; -73.9781 Coordinates: forty°45′42″Northward 73°58′41″W  /  40.7616°Due north 73.9781°W  / 40.7616; -73.9781
Manager	Jason T. Busch
Public transit access	Subway: to 66th Street–Lincoln Center Buses: M5, M7, M11, M20, M66, M104
Website	www.folkartmuseum.org

The American Folk Art Museum is an art museum in the Upper Westward Side of Manhattan, at two, Lincoln Square, Columbus Avenue at 66th Street. It is the premier institution devoted to the aesthetic appreciation of folk art and creative expressions of contemporary self-taught artists from the United States and abroad.

Its collection holds over viii,000 objects from the 18th century to the present. These works span both traditional folk art and the work of gimmicky cocky-taught artists and Art Brut. In its ongoing exhibitions, educational programming, and outreach, the museum showcases the creative expressions of individuals whose talents developed without formal artistic training.

Admission is gratis. The museum had record yearly attendance of more than 130,000 visitors.^{[1] [2]}

History [edit]

Since receiving a provisional charter in 1961, the American Folk Art Museum has continually expanded its mission and purview. At its inception, the museum lacked a permanent drove, an endowment, and a building. Despite defective these institutional fixtures, founding Trustees Joseph B. Martinson and Adele Hostage had a vision: the advancement of the understanding and appreciation of American folk arts. In the museum'south about sixty-twelvemonth history, this dedication has held true. The museum'south evolving mission reflects the shifting understanding of folk art internationally.^[three]

The Museum of Early American Folk Arts, as it was known initially, held its kickoff exhibition in a rented space on 49 W 53rd Street in 1961. The museum's collection was launched in 1962 with the souvenir of a gate in the form of an American flag, celebrating the nation's centennial.^[four] The gift reflected the museum's early on focus on eighteenth and nineteenth-century vernacular arts from the northeast America.

In 1966, later on receiving a permanent charter, the museum expanded its name and mission. As the Museum of American Folk Arts, information technology looked beyond the traditional definitions of American folk fine art. Its exhibitions and drove began to reflect "every aspect of the folk arts in America – northward, due south, east, and westward."^[5] Founding curator Herbert W. Hemphill Jr. "expanded the notion of folk fine art across traditional, utilitarian, and communal expressions."^[6] Under his direction, the museum began to champion idiosyncratic and individualistic artwork from the fields of traditional and contemporary folk art. In doing so, the museum ushered in a new era in the field of twentieth-century folk art. The 1990s brought new focus to the variety and multiculturalism of American folk fine art. Offering a more inclusive vision, the museum began to present African American and Latino artworks in their exhibitions and permanent collections. Director Gerard C. Wertkin announced American folk art'southward common heritage as "promoting an appreciation of diversity in a style that does non foster ethnic chauvinism or racial division."^[vii]

The museum farther established its broadened outlook with the 1998 formation of the Contemporary Heart, a division of the museum devoted to the work of 20th and 21st century self-taught artists, equally well as non-American artworks in the tradition of European fine art brut. In 2001, the museum opened the Henry Darger Study Center to house 24 of the cocky-taught artist's works, also equally a drove of his books, tracings, drawings, and source materials.

In 2001, the museum chose its current proper noun, American Folk Fine art Museum. Recognizing that American folk art could only be fully understood in an international context, the give-and-take American functions as an indication of the museum's location, emphasis, and principal patronage rather than as a limitation on the kind of art it collects, interprets, or presents. The museum's current programming reflects this shift in focus. Past exhibits have included folk arts of Latin America, England, Norway, among other countries and continents.

Every bit the museum's mission developed, and then did its effort to establish a permanent abode. In 1979, the Museum'southward Board of Trustees purchased two townhouses on W 53rd Street, adjacent to Museum's rented quarters at 49 West 53rd Street. In 1984, while waiting to develop the Due west 53rd properties, the museum continued to organize exhibitions and educational programs from a former carriage business firm at 125 West 55th Street. V years after, a new branch of the museum, the Eva and Morris Feld Gallery, opened at 2 Lincoln Square, New York, reverse Lincoln Centre for the Performing Arts.

In 2001, a new building on 45–47 Westward 53rd Street was opened. Tod Williams and Billie Tsien designed an eight-level building on a forty-foot-broad, 1 hundred-pes-long site on 53rd Street.^[8] From 2001 to 2011, the midtown infinite served as the museum's principal branch. However, facing increasingly loftier bond payments, the museum sold the midtown branch to the Museum of Modern Fine art.^[9] When MoMA appear that it was going to demolish the building in connectedness with its expansion, there was outcry and considerable discussion nigh the issue, but the museum ultimately proceeded with its original plans.^{[x] [xi]}

Following the sale, the American Folk Art Museum used its facility at ii Lincoln Square as its master exhibition and shop space. In 2014, the museum's athenaeum, library, and administrative staff moved to Long Isle City, Queens. In September 2017, the museum opened the Self-Taught Genius Gallery at its facility in Long Island City. The STG gallery shows art from the museum's collection in thematic exhibitions that change every few months. The STG Gallery is funded in large part by the Henry Luce Foundation.

The collection [edit]

Continuing every bit "one of New York City'southward great treasures",^[12] the museum'southward 7,000 plus collection has been formed virtually entirely through gifts. Spanning a wide variety of mediums, the drove includes over 1,200 paintings on canvas or panel, 1,500 drawings and works on paper, 1,000 sculptural objects, 1,000 textile items, 200 ceramic objects, 100 pieces of furniture, 300 decorated household items from the Historical Society of Early American Decoration, and two large-scale architectural models.

Additionally, the museum has a big drove of athenaeum, creative person files, films, recordings, photographs, original research, historical records, and other assorted and valuable ephemera. Most notably, the museum holds the largest collection of archival materials from self-taught artist Henry Darger.

The collection ranges from early portraits by Sheldon Peck, Ammi Phillips, Asa Ames, and Samuel Addison Shute and Ruth Whittier Shute, quilts and schoolgirl needlework, article of furniture, and weathervanes to works by acclaimed masters such as Thornton Dial, Morris Hirshfield, Martín Ramírez, Judith Scott, Mary T. Smith and Bill Traylor.

The museum continues to add to its growing collection. In recent years acquisitions have included a version of Edward Hicks's (1780–1849) famed The Peaceable Kingdom. Notably, this painting, which Hicks gave to his daughter, remained with Hicks'southward descendants for many years. The portraits Increase Child Bosworth and Abigail Munro Bosworth by Sheldon Peck (1797–1868), Pickman's Mephitic Models by Paul Laffoley (1935–2016), Plantation Life by Clemmentine Hunter (1886/87–1988), and Heavenly Children by William Matthew Prior (1806–1873). Street artist KAWS donated a rare sculpture by self-taught artist William Edmondson to the museum in 2021.^[thirteen]

Selected drove highlights [edit]

• 

  Creative person unidentified, Flag Gate, 1876

• 

  Artist unidentified, Bird of Paradise Quilt Acme, 1858–1863

• 

  Artist unidentified, Hudsonian Curlew Weathervane, 1874

• 

• 

  Hannah Cohoon, Gift Drawing: The Tree of Lite or Blazing Tree, 1845

Exhibitions [edit]

Each year, the museum mounts a number of exhibitions, which bridge from the traditional folk arts to the more gimmicky "cocky-taught" expressions. The museum's exhibits frequently examine the works of a specific artist or the significance of a item medium, such every bit quilts or tinsel paintings.

Through its exhibits, the museum continues to develop the understanding of folk and self-taught artists. Past exhibits have showcased the works of "undersung" masters, such as Thomas Chambers and Asa Ames.^[14] Additionally, the museum has hosted solo exhibitions dedicated to the work of cocky-taught greats: Martín Ramírez, Eugene Von Bruenchenhein, Willem van Genk, Ronald Lockett, John Dunkley, Paa Joe, and Bill Traylor.

Past exhibits have besides positioned traditional folk art in chat with more gimmicky art. In the museum's 2008 exhibit, "The Seduction of Calorie-free: Ammi Phillips/ Marker Rothko Compositions in Pink, Light-green, and Red" explored the visual connections between Rothko's famed color blocks and Phillip'southward heightened color palette. In 2013, the museum invited thirteen mode designers to create an original work, inspired by a slice in their collection. The resulting exhibit "Folk Couture: Mode and Folk Art" ran from January 21 – Apr 23, 2014. Subsequent major exhibitions include 2016's Mystery and Benevolence: Masonic and Odd Fellows Folk Art, Securing the Shadow: Posthumous Portraiture in America, Eugen Gabritschevsky: Theater of the Ephemeral, Carlo Zinelli (1916–1974), 2017's State of war and Pieced: The Annette Gero Collection of Wartime Quilts, 2018's Vestiges & Poetry: Notes From the Newfangled Epic, and, also in 2018, Charting the Divine Program: The Art of Orra White Hitchcock (1796–1863). In 2019 the museum volition show Made in New York Metropolis: The Business organization of Folk Art.

At the Self-Taught Genius Gallery in Long Island City, the exhibitions take included Holding Infinite, Handstitched Worlds: The Cartography of Quilts, and Roadside Attraction.

By raising traditional folk artists and self-taught artists from the periphery of the mainstream art world, the museum has continued to testify "the worth of instinctive, self-taught artistry."^[14]

Stacy C. Hollander was the museum's master curator and director of exhibitions from 1992 until stepping down in 2019.^[15] Since joining the museum in 2013, Dr. Valérie Rousseau has served as the curator of self-taught art and art brut. Emilie Gevalt joined the museum as curator of folk art in 2019.^[sixteen]

Notable exhibitions [edit]

In 2014, the museum launched the exhibition, Self-Taught Genius: Treasures from the American Folk Art Museum. Featuring more than 100 works of art, "Self-Taught Genius" offered "an intellectually provocative effort to rethink the nature of creative creativity" from the eighteenth century to the nowadays.^[17] Following its New York premiere, the exhibition travelled to six cities, as part of a national tour funded by the Henry Luce Foundation's 75th anniversary initiative.^[18]

Publications [edit]

In December 2013, the American Folk Fine art Museum launched a fully accessible digital annal of 117 problems of its in-house magazine, Folk Fine art, formerly known equally The Clarion. From winter 1971 to fall 2008, Folk Art, was published on average of iii times a year. It served as a forum for original research and new scholarship in the field of American folk art. Topics ranged from traditional arts, such as portraiture, schoolgirl arts, painted article of furniture, and pottery, to original discourses on under-recognized artists.

Honors [edit]

In 2007, it was amid over 530 New York Urban center arts and social service institutions to receive part of a $twenty million grant from the Carnegie Corporation, which was made possible through a donation by New York City mayor Michael Bloomberg.^[19]

In 2013, the Encyclopedic Palace, in the Museum'southward collection, served as the inspiration and theme for the 55th installation of the international Venice Biennale. Marino Auriti (1891–1980), a self-taught Italian American artist, created the piece of work as an architectural model for imaginary museum that would firm all worldly knowledge. Massimiliano Gioni, artistic director of the Biennale, detailed the enduring relevancy of Auriti'southward work. "Today, as nosotros grapple with a abiding flood of information, such attempts to structure cognition into all-inclusive systems seem even more than necessary and fifty-fifty more desperate."^{[ citation needed ]}

Gift shop [edit]

Cited as one of the "Earth'southward Best Museum Gift Shops," the museum'due south gift shop offers gift items, handcrafted in the folk tradition, such equally jewelry, personal accessories, frames, toys, objects for the home, as well every bit note cards, books, and catalogs.^[twenty]

See too [edit]

• Listing of museums and cultural institutions in New York Urban center

References [edit]

1. ^ "News | American Folk Fine art Museum". Folkartmuseum.org. Retrieved 2014-06-08 .
2. ^ "News | American Folk Art Museum". Folkartmuseum.org. Retrieved 2015-06-22 .
3. ^ For more information about the history of the American Folk Art Museum, run across Gerard C. Wertkin, "Foreword," in Stacy C. Hollander and Brooke Davis Anderson, American Anthem: Masterworks from the American Folk Art Museum (New York: American Folk Art Museum in association with Harry N. Abrams, Inc., 2001), pp. 10–13.
4. ^ "FLAG GATE | American Folk Art Museum". Folkartmuseum.org. Retrieved 2014-06-08 .
5. ^ Folk Art, Summer 2001, 21.
6. ^ Brooke Davis Anderson, "The Gimmicky Collection: Through The Lens of Language," American Anthem: Masterworks from the American Folk Fine art Museum (New York: -, 15).
7. ^ Folk Art
8. ^ "American Folk Art Museum".
9. ^ Taylor, Kate (2011-05-10). "MoMA to Buy American Folk Fine art Museum Building". The New York Times.
10. ^ Pogrebin, Robin (January 8, 2014). "A K Redesign of MoMA Does Not Spare a Notable Neighbor". The New York Times. Archived from the original on July ix, 2014. Retrieved September 29, 2014.
11. ^ Pogrebin, Robin (April xv, 2014). "Architects Mourn Former Folk Art Museum Building". The New York Times. Archived from the original on November nine, 2017.
12. ^ Smith, Roberta (Baronial two, 2012). "Everyday Treasures Gaze Out to Sea". The New York Times.
13. ^ Cascone, Sarah (2021-eleven-02). "KAWS Donates 'Holy Grail' of Folk Art—a William Edmondson Sculpture Discovered on a St. Louis Porch—to New York Museum". Artnet News . Retrieved 2021-xi-11 .
14. ^ ^{a b} Roberta Smith, "As Folk Fine art Museum Teeters, a Huge Loss Looms," The New York Times, September xix, 2011
15. ^ Moynihan, Colin (2019-04-03). "American Folk Fine art Museum Leader Is Stepping Down". The New York Times. ISSN 0362-4331. Retrieved 2021-xi-xi .
16. ^ "American Folk Art Museum Hires Emelie Gevalt as Curator". www.artforum.com . Retrieved 2021-eleven-xi .
17. ^ Johnson, Ken (2014-05-22). "A Confederacy of Mavericks; Inspiration Made Concrete in 'Self-Taught Genius' Exhibition". The New York Times . Retrieved 2014-06-07 .
18. ^ "$one.6m donation to the American Folk Art Museum". artmediaagency.com. Roubaix, French republic: Art Media Agency. 2013-06-24. Retrieved 2014-06-07 .
19. ^ Roberts, Sam (2005-07-06). "New York Times: City Groups Go Bloomberg Souvenir of $20 Million". The New York Times . Retrieved 2010-04-23 .
20. ^ Wylie, Erin (2013-11-07). "Quirky Souvenirs from Some of the World'due south All-time Museum Gift Shops:American Folk Art Museum, New York City, Reusable lunch bag, $fifty". cntraveler.com. New York, NY: Condé Nast. Retrieved 2014-06-07 .

Further reading [edit]

• Folk Art (formerly The Clarion). Magazine published 1971–2008 by the American Folk Art Museum.
• Anderson, Brooke Davis. Darger: The Henry Darger Collection at the American Folk Art Museum. New York: American Folk Art Museum in clan with Harry N. Abrams, Inc., 2001.
• Anderson, Brooke Davis. Martín Ramírez. Seattle: Marquand Books in association with American Folk Art Museum, 2007. A New York Times Notable Book.
• Hollander, Stacy C. American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum. New York: American Folk Fine art Museum in association with Harry N. Abrams, Inc., 2001.
• Hollander, Stacy C., and Brooke Davis Anderson. American Canticle: Masterworks from the American Folk Art Museum. New York: American Folk Art Museum in association with Harry Northward. Abrams, Inc., 2001.
• Kelly, Andrew. Kentucky past Design: The Decorative Arts and American Culture: Quilts, Coverlets, and Shaker Cloth Culture. Lexington: University Press of Kentucky, 2015. ISBN 978-0-8131-5567-eight
• Warren, Elizabeth V. Quilts: Masterworks from the American Folk Art Museum. New York: American Folk Art Museum in association with Rizzoli International Publications, Inc., 2010.
• Zimiles, Murray. Gilded Lions and Jeweled Horses: The Synagogue to the Carousel. With a foreword past Gerard C. Wertkin and an essay past Vivian B. Mann. Lebanon, Due north.H.: University Press of New England/Brandeis University Press in association American Folk Fine art Museum, 2007. Winner of the 2007 National Jewish Book Honour, Visual Arts.

External links [edit]

• American Folk Art Museum official website
• List of recent American Folk Fine art Museum exhibitions
• Listing of upcoming American Folk Art Museum exhibitions
• "Moderated, Folk Art Museum Puts Downwardly Healthier Roots" Robin Pogrebin, The New York Times, Apr two, 2013.
• "Crossing borders, ignoring boundaries,", Meghan Daily, The Magazine Antiques, March/April 2014.

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Source: https://en.wikipedia.org/wiki/American_Folk_Art_Museum

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