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"A book on one of the most exciting and colorful phases in the rich cultural history of Mexico." This is how Nelson A. Rockefeller, in 1978, during his last trip to Mexico, described the book he planned to publish about his astonishing collection of Mexican folk art. Folk Treasures of Mexico: The Nelson A. Rockefeller Collection is that book, and Rockefeller's essay appears here as the foreword to this volume, which highlights the best and most striking objects in what is considered to be the single finest collection of Mexican folk art in the United States.

Folk art --- Peasant art --- Popular art --- Art --- Art, Primitive --- Private collections --- Rockefeller, Nelson A. --- Rockefeller, Nelson Aldrich, --- Art collections.

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"Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk's Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers--and their connection to handwork, local history, and place--soothed the public's nostalgia for a simpler past. Addressing modernism as it pertains to the genealogy of folk art and late twentieth-century crises in capitalism, Erin Morton places artists like Maud Lewis and Collins Eisenhauer within histories of cultural and economic development in the province. Engaging the national and transnational developments that moulded public and academic criteria, she examines the ways in which a conceptual category took concrete, material form. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it according to a particular modernist aesthetic language."-- "Illustrated with over seventy images, For Folk's Sake interrogates the emotive pull of folk art to radically reconstruct the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia's most important art institutions."--

Folk art --- Folk artists --- Artists --- Peasant art --- Popular art --- Art --- Art, Primitive --- History --- Economic aspects --- Nova Scotia --- Cultural policy --- Economic conditions --- Nouvelle-Ecosse

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Chains carved from a single block of wood, cages whittled with wooden balls rattling inside -- all ""made with just a pocketknife"" -- are among our most enduring folk designs. Who makes them and why? what is their history? what do they mean for their makers, for their viewers, for our society? Simon J. Bronner portrays four wood carvers in southern Indiana, men who had been transplanted from the rural landscapes of their youth to industrial towns. After retiring, they took up a skill they remembered from childhood. Bronner discusses how creativity helped these men adjust to change and how vie

Chains --- Folk art --- Wood-carving --- Wood-carvers --- Links and link-motion --- Peasant art --- Popular art --- Art --- Art, Primitive --- Whittling --- Wood-carving, Primitive --- Wood carvings --- Wood craft --- Woodcarving --- Woodcraft --- Carving (Decorative arts) --- Woodwork --- Wood sculpture --- Woodcarvers --- Woodworkers --- Folklore. --- Psychological aspects. --- Interviews.

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Conceptualised in 1920s Japan by Yanagi Sôetsu, the Mingei movement has spread world wide since the 1950s, creating phenomena as diverse as Mingei museums, Mingei connoisseurs and collectors, Mingei shops and Mingei restaurants. The theory, at its core and its adaptation by Bernard Leach, has long been an influential 'Oriental' aesthetic for studio craft artists in the West. But why did Mingei become so particularly influential to a western audience? And could the 'Orientalness' perceived in Mingei theory be nothing more than a myth?

Folk art --- Culture --- Identity (Psychology) --- Personal identity --- Personality --- Self --- Ego (Psychology) --- Individuality --- Cultural sociology --- Sociology of culture --- Civilization --- Popular culture --- Peasant art --- Popular art --- Art --- Art, Primitive --- History --- Social aspects --- Yanagi, Muneyoshi, --- Yu, Chong-yŏl, --- Yanagi, Muneyosi, --- Yanagi, Sōetsu, --- Liu, Zongyue, --- 柳宗悦, --- Yanagi, Soyetsu, --- Criticism and interpretation.

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The brilliant kaleidoscope of everyday creativity in Israel is thrown into relief in this study, which teases out the abiding national tensions and contradictions at work in the expressive acts of ordinary people. Hagar Salamon examines creativity in Israel's public sphere through the lively discourse of bumper stickers, which have become a potent medium for identity and commentary on national and religious issues. Exploring the more private expressive sphere of women's embroidery, she profiles a group of Jerusalem women who meet regularly and create "folk embroidery." Salamon also considers the significance of folk expressions at the intersections of the public and private that rework change and embrace transformation. Far ranging and insightful, Israel in the Making captures the complex creative essence of a nation state and vividly demonstrates how its citizens go about defining themselves, others, and their country every day.

Folklore --- Embroidery --- Needlework --- Bumper stickers --- Decorative arts --- Folk art --- Bumper strips --- Signs and signboards --- Stickers --- Applied arts --- Art industries and trade --- Art --- Handicraft --- Peasant art --- Popular art --- Art, Primitive --- Textile crafts --- Dressmaking --- Fancy work --- Sewing --- Embroidering --- Embroidery, Primitive --- Decoration and ornament --- Folk beliefs --- Folk-lore --- Traditions --- Ethnology --- Manners and customs --- Material culture --- Mythology --- Oral tradition --- Storytelling