The penny bank craze of the twentieth century began quietly enough. Here, a slotted pottery pig from Scotland. There, a grimacing human face made in Bennington, Vermont. In 1793, penny banks first appeared in America, along with the first large copper pennies. Those who mistrusted paper currency saved their "hard" money in vessels of pottery, glass, and tin. In the 1890s, "China Pig" with a slit in his back sold for a dime. Plump pigs and pennies went together like thrift and future success. To this day, these iconic examples of American folk art and vernacular design are prized additions to museum and personal collections throughout the country. Money in the Bank details a wide range of extraordinary still and mechanical banks acquired by Katherine Kierland Herberger, who initially discovered the pleasure and variety of toy banks as gifts for her son. Over 1,200 purchases later, she donated the collection to The Minneapolis Institute of Arts. All are pictured here in full color for the first time. Acclaimed art historian Karal Ann Marling contributes an essay to the book tracing the importance of banks in popular culture, and an introduction narrates Herberger's extensive collecting activities. Money in the Bank is a lavishly illustrated and remarkably comprehensive catalog that demonstrates the charm and whimsy, as well as the significance, of toy banks in America. Corine Wegener is assistant curator at The Minneapolis Institute of Arts. Karal Ann Marling is professor of American studies and art history at the University of Minnesota. Distributed for The Minneapolis Institute of Arts
An examination of the pioneering Caribbean and Latin American artists who resided in New York prior to WWII and shaped the American avant-gardeBetween 1900 and 1942, New York City was the site of extraordinary creative exchange where artists could share ideas in a global context. The swiftly changing urban landscape before and between the World Wars inspired the erosion of artistic boundaries and fostered a new climate of modernist experimentation. Nexus New Yorkfocuses on key artists from the Caribbean and Latin America who entered into dynamic cultural and social dialogues with the American-based avant-garde and participated in the development of a new modern discourse. Featuring both celebrated and little-known figures of this period, including Carlos Enr quez, Alice Neel, Marius de Zayas, Francis Picabia, Joaqu n Torres-Garcia, Jos Clemente Orozco, Matta, and Robert Motherwell, contributing authors also discuss the specific environments in which they flourished, including the Art Students League, the Siqueiros Experimental Workshop, and the New School for Social Research. A fascinating look at 20th-century modernism, this book provides the first view of the important encounters between artists of the Americas.
This book explores the world of American folk art collectors--people who saw the beauty and value of the folk-art portraits, weathervanes, and carvings that mainstream America had hitherto relegated to attics, barns, and dust bins. Although pioneer collectors sought out and preserved objects that are today regarded as icons, little has been known of their motivations, aesthetics, or display techniques. Unlike the mainly white, professional, male collectors of furniture, silver, and other traditional decorative arts who were the subject of Elizabeth Stillinger's classic study The Antiquers, the earliest folk art collectors were a bohemian crowd made up of women, artists, immigrants, oddballs, and outsiders. They were drawn to folk art not by its prestige value but by its artistic, instructive, and ethnological significance. A Kind of Archeology begins by examining the evolution of the concept of folk art, relating it to nineteenth- and early twentieth-century movements such as romanticism, nationalism, arts and crafts, and colonial revivalism. Four sections follow, each presenting a category of collector--antiquarian and ethnologist, modernist, decorator and aesthete, and patriot and nationalist--and offering portraits of individual collectors and dealers. The book closes with the exhibition The Flowering of American Folk Art, 1776-1876, which opened in 1974. The show was so successful that prices shot skyward, and folk objects, after a century of being disregarded, misunderstood, then championed by a few enthusiasts and gradually accepted in a small segment of the art world, finally entered the realm of highly desirable and collectible art.
Reveals the special qualities that have enabled artisans of the Catskill region to develop and sustain a remarkable craft tradition, and details all the processes involved in making handwoven cloths, ceramics, and other items
This publication accompanies a major exhibition organized by the Wadsworth Atheneum in Hartford, Connecticut, and the National Gallery of Australia. It features some fifty American and fifty Australian landscape paintings produced during the period when landscape became the focus for artists in both countries.In both traditions landscapes trace the ever-changing complexities of bringing what is known to the experience of the unknown, exploring the profound relationship that we have with the land on which we live. Many of America's finest landscape painters are represented, including Frederic Church, Thomas Cole, Albert Bierstadt, Winslow Homer, and William Merritt Chase. Australian artists include Joseph Lyatt, Augustus Earle, John Glover, Eugene von Guerard, Louis Buvelot, and Arthur Streeton, among others.
Wanda M. Corn's long-awaited new book proposes a remarkable revisioning of the history of American modern art between the two world wars. Moving away from issues of style and abstraction, she bases her work on a broad examination of culture and on discourses of national identity. Corn argues that the key questions for interwar modernists in New York and Paris were whether or not it was possible to create an art that was both American and modern, and if it was, what such an art would look like. Both European and American artists debated these questions and made art that responded to them.Corn organizes each chapter around a careful reading of a work of art, probing first its peculiar poetry and style and then its connection to its artist and the cultural influences surrounding it. The result is an unfolding of the work's contingent relationships with history, literature, art criticism, music, and popular culture. The works she examines--from those made by the Stieglitz circle to those by European Dadaists--were part of the quest for "the Great American Thing," a quest that was international in scope and that inspired a decade of vibrant cultural exchange between the art capitals of Europe and New York. Passionate and eminently readable, with more than 300 illustrations--drawings, paintings, sculptures, advertisements, cartoons, and documentary photographs--The Great American Thing indelibly alters the way we think about the first decades of American modernism and the legacy it created.
Green Woods and Crystal Waters examines American landscape painting in the second half of the 20th century through the works of 89 artists. Keeping the city at a safe distance, it focuses on the pastoral views and dramatic wilderness that have provided such a powerful American subject for over two centuries. Formally and expressively diverse, the works range from the objective depiction of the physical appearance of nature to the romantic or mystical use of landscape as a vehicle for poetic and spiritual concerns to the expressionist's reshaping of nature to follow the curvature of interior moods. Each of these very different approaches is central to our visual tradition and has colored our portrayals of the landscape.