I received a curious call the other day from an art curator and museum director I had not previously known. His voice sounded urgent and excited - his words rolled at a brisk pace as his emotions elevated. Enthusiastically, he told me about an artist visit he just concluded, saying that it was the “most mesmerizing and surprising experience of his 30 year art career”. As I listened to this stranger describe an electrifying experience of seeing art that clearly moved him, I started to wonder why he had chosen to share it with me. Truthfully, I even started to zone out as he kept repeating his near religious experience until he got to the punch line, “I would give the artist an exhibit in a heartbeat but I don’t show FOLK ART.” I smiled to myself and politely asked him what exactly he thought “folk art” was. He rattled off a rather stale description using terms such as “untrained”, “primitive”, “naïve”, “cultural artifact”, blah, blah, blah.
Normally I don’t shy away from a good debate, but discussing what is high, low, good, or bad art is an empty exercise. My definition of good art is very simple -- it is art that moves my soul, inspires me to feel or think, and fills me with pure delight. I know the exact feeling of coming into contact with it and experience an instant high when I see it. Sadly, it seems the more “educated” one is on the subject of art, the more disconnected he/she is from the creative impulse that inspires great art. I joyfully spend every dollar I can on art and enjoy my collection daily - my art is part of my life. I personally prefer art created in the context of community or connected to tradition and ritual. Plastic pop art sculptures “fabricated” by machines may get millions at Sothebys, but leave me unmoved. They say that you are what you collect, and I guess that’s the real story. I am a folk… who are you?
Now for those of you wondering, “what exactly is Folk Art?” Here’s one view:
At CAFAM we view the term “folk art” in a contemporary and dynamic light that is not limited to one frame. We consider all art made in a cultural and social context as part of our domain. Our stance encompasses a wide breath of art and ideas ranging from Polynesian body tattoos that mark a tribe, whether traditional or urban, to the modern interpretation of ancient cave paintings from India that offer political commentary about a post-9/11 world, to a photojournalist’s observations of the complexity of contemporary Iranian society.
Folk art offers cultural insights not readily seen in other art forms since it is created with an awareness of, and a connection to tradition and community. The process of creating folk art is a varied and dynamic one the builds on traditional methods or ideas, but also includes individual creativity and contemporary influences. This artistic merger of social order and individual creativity offers incredible insight into global and local values and beliefs. Perhaps the most fascinating aspect of folk art is how sublimely it reveals human similarities amongst diverse cultures.
No song, no performance, no act of creation can be properly understood apart from the culture or subculture in which it is found and of which it is a part; nor should any ‘work of art’ be looked on as a thing in itself apart from the continuum of creation-consumption.
- Edward D. Ives
Until next time,
Ms. Cosmopolite
Press Room