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Envisioning Howard Finster
The Reverend Howard Finster (1916Ð2001) was called the Òbackwoods William BlakeÓ and the ÒAndy Warhol of the South,Ó and he is considered the godfather of contemporary American folk and visionary art. This book is the first interpretive analysis of the intertwined artistic and religious significance of FinsterÕs work within the context of the American Òoutsider artÓ tradition. Finster began preaching as a teenager in the South in the 1930s. But it was not until he received a revelation from God at the age of sixty that he began to make sacred art. A modern-day Noah who saw his art as a religious crusade to save the world before it was too late, Finster worked around the clock, often ...
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Gatecrashers
After World War I, artists without formal training “crashed the gates” of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson “Grandma” Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.
Yo' Mama's Disfunktional!
In this vibrant, thought-provoking book, Kelley, "the preeminant historian of black popular culture writing today" (Cornel West) shows how the multicolored urban working class is the solution to the ills of American cities. He undermines widespread misunderstandings of black culture and shows how they have contributed to the failure of social policy to save our cities. From the Trade Paperback edition.
Why Education Is Useless
Education is useless because it destroys our common sense, because it isolates us from the rest of humanity, because it hardens our hearts and swells our heads. Bookish persons have long been subjects of suspicion and contempt and nowhere more so, perhaps, than in the United States during the past twenty years. Critics of education point to the Nazism of Martin Heidegger, for example, to assert the inhumanity of highly learned people; they contend that an oppressive form of identity politics has taken over the academy and complain that the art world has been overrun by culturally privileged elitists. There are always, it seems, far more reasons to disparage the ivory tower than to honor it. ...
Encyclopedia of American Folklore
Folklore has been described as the unwritten literature of a culture: its songs, stories, sayings, games, rituals, beliefs, and ways of life. Encyclopedia of American Folklore helps readers explore topics, terms, themes, figures, and issues related to this popular subject. This comprehensive reference guide addresses the needs of multiple audiences, including high school, college, and public libraries, archive and museum collections, storytellers, and independent researchers. Its content and organization correspond to the ways educators integrate folklore within literacy and wider learning objectives for language arts and cultural studies at the secondary level. This well-rounded resource co...
Souls Grown Deep
The first comprehensive overview of an important genre of American art, Souls Grown Deep explores the visual-arts genius of the black South. This first work in a multivolume study introduces 40 African-American self-taught artists, who, without significant formal training, often employ the most unpretentious and unlikely materials. Like blues and jazz artists, they create powerful statements amplifying the call for freedom and vision.
Self-taught Art
The first book to give self-taught art the same degree of scholarly attention and critical thinking that mainstream art traditionally receives
Let it Shine
During 1996 and 1997, T. Marshall Hahn donated a substantial portion of his collection of contemporary folk art to the High Museum of Art in Atlanta. His gift was the first major collection of self-taught art primarily from the South to be given to a general interest American museum. The Hahn Collection comprises more than 140 paintings, works on paper, and sculptures created by more than forty artists and is particularly strong in work by African American self-taught artists. The three essays in this book provide a context for this extraordinary gift. An interview with Hahn by Lynne E. Spriggs, the High's Curator of Folk Art, traces his personal collecting history. An essay by Joanne Cubbs, the High's first curator of folk art, explores conceptual and aesthetic themes common to Southern folk art, and an essay by Lynda Roscoe Hartigan, Chief Curator at the Smithsonian American Art Museum, presents an overview of the developing awareness of and market for Southern folk art. The catalogue section features color reproductions and short essays on eighty-five of the most significant objects in the Collection.
