Folk art

Folk art is a broad category of visual art made within the context of folk culture. It encompasses both tangible and intangible forms of expression. Tangible folk art includes physical objects that people can see and touch. These items are often crafted for practical utility in daily life rather than being purely decorative. Intangible folk art includes things like music, dance, and narrative structures.

While definitions vary, folk art is generally distinguished from the fine art tradition. It is also distinct from ethnographic art made in traditional societies. Many scholars see it as a way for communities to express their shared cultural life and heritage.

The creation of folk art follows a specific process of manual production. Most objects are produced through a one-off process, meaning only one item is made at a time. This can be done entirely by hand or through a combination of hand and machine methods. Because they are not mass-produced in factories, these items are considered unique.

Folk artists typically work within an established cultural framework. They use recognizable styles and methods that allow their work to be attributed to a specific individual or workshop. This method of production is often linked to preindustrial modes of communal society. In these settings, technical skills and knowledge were passed down as personal and traditional assets.

Folk art can be divided into several different types based on how it is experienced. Tangible arts include items like pottery, baskets, or carvings that can be handled and even broken. These objects are part of a larger group called material culture.

Intangible arts are experienced through the senses in different ways, such as through sound or movement. There is also a concept known as "naive art," which often overlaps with folk art. Some artists are considered "outsider artists" because they are self-taught and work in isolation. The Smithsonian American Art Museum currently houses over 70 of these self-taught or folk artists.

The history of the term "folk art" is a relatively recent development. It is a distinctly 19th-century concept that often carries a sense of nostalgia for preindustrial life. In 1894, Alois Riegl published a study on Volkskunst, which discussed the importance of individual creativity within folk traditions. He argued that while artists follow group norms, their personal aesthetic choices prevent traditions from stagnating.

This tension between following tradition and adding new ideas allows folk art to be renewed by each generation. Today, the term is used differently in Europe than it is in the United States.

Community involvement is a vital part of how folk art functions. Unlike fine art, which often seeks individualistic expression, folk art is a group art. This means artists acquire their manual and intellectual abilities through communication with others. Historically, this training happened through apprenticeships with local craftsmen like blacksmiths or stonemasons.

Today, many artists learn in technical or applied arts schools. Some, like the Canadian artist Maud Lewis, may face barriers to formal education due to illness. Despite this, Lewis became famous for her thousands of paintings of life in Nova Scotia.

Tradition is maintained through the passing of skills from one generation to the next. This often happens through family lines where relatives teach children the necessary tools and knowledge. For example, George Lopez is a sixth-generation santos carver from New Mexico. Similarly, the Yorok-Karok people pass basket weaving skills through family members.

This continuity ensures that the community's cultural aesthetics are reflected in the work. While an artist might innovate, their work usually references existing forms within the culture. If an object has no known antecedents in the culture, it may not be considered folk art.

Folk art has a significant influence on the broader world of mainstream art. Famous artists have drawn inspiration from these traditional styles and motifs. Pablo Picasso was influenced by African tribal sculptures and masks. The artist Natalia Goncharova was inspired by Russian luboks, which are popular prints.

In 1951, Barbara Jones helped popularize these ideas through her exhibition "Black Eyes and Lemonade." This helped connect folk and mass-produced objects with contemporary art.

Today, several organizations work to support and protect these cultural traditions. UNESCO works with the International Organization of Folk Art to promote festivals involving music, dance, and song. Their goal is to use these cultural exchanges to promote international understanding and peace. In the United States, the National Endowment for the Arts supports folk art through research and education. They provide fellowships to artists in various crafts, such as quilting and ironwork, to ensure these traditions remain sustainable.