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inners all! One year ago, the Museum announced "Quilted Constructions: The Spirit of Design," an international quilt contest to salute the opening of the Museum's new building. The official rules stated that the contest was open to all living artists worldwide; that the quilts be within a specified size range; that they be the original design of the entrant and not an adaptation; and that they be the work of one person. Quiltmakers from twenty-six states and twelve countries—winners all—submitted their work. Fifteen dazzling quilts were chosen; each will be displayed in the Museum's Eva and Morris Feld Gallery from September 14, 2001,through January 13, 2002, and they are all reproduced here, starting on page 20. Constructions of a whole other kind are the creations of Hawkins Bolden, a self-taught artist from Memphis, Tennessee. J. Scott Ogden, who is working on a film documentary about self-taught artists, spent some time with Hawkins Bolden and shares his impressions of the man and his work with us. Many of Bolden's sculptures—constructions made mostly offound objects—were intended to be scarecrows to keep birds out of his yard. He began sometime during the 1960s to fill his small garden with his sculpture, and it wasn't long before the "scarecrows" outnumbered the plants they protected. Ogden's wonderfully illustrated essay begins on page 32. Starting on page 40, we take you in a third direction—completely away from art quilts and folk sculpture—back into the world of silhouette portraits. In the early 1800s, with photography a long way from being practical, a silhouette was the quickest, most economic way of obtaining a credible image of a loved one or friend. Vincent DiCicco is an impassioned collector of hollow-cut silhouettes. His essay,"Silhouette HOLLOW-CUT SILHOUETTE OF A GIRL Portraiture in America: A Fully Artist unidentified Developed Form of Folk Expression," Probably New England c. 1935 traces this art form from its beginCut paper and watercolor on paper; stamped brass nings to its pinnacle, fifty years later, supported by wood frame by exploring the work of specific 3*.. 21 / 4" Collection of the American Folk Art Museum, gift of artists such as William Chamberlain, Robert Bishop, 1985.28.4 James Hosley Whitcomb,and an unidentified artist known only as the "Puffy Sleeve Artist." DiCicco's essay is intriguing and beautifully illustrated with little gems. I hope you enjoy this issue and I look forward to meeting up with you again in December. In the meantime, we are gearing up for the last leg on ourjourney to our new home,and the next issue of Folk Art will tell it all. I hope you are anticipating it as much as we are.


AMERICAN FOLK ART MUSEUM PUBLICATIONS/FOLK ART Rosemary Gabriel Director ofPublications/Editor and Publisher Tanya Heinrich Exhibition Catalog and Book Editor Sarah J. Munt Production Editor Candie Frankel Copy Editor Katharine Clark Assistant Editor Jeffrey Kibler, The Magazine Group, Inc. Design John Hood Advertising Sales Mel Novatt Advertising Sales Craftsmen Litho Printers

Administration Gerard C. Wertldn Director Susan Conlan Assistant to the Director Riccardo Salmona Deputy Director Jane A. McIntosh Assistant Director ofthe Capital Campaign Stephen N. Roache ChiefFinancial Officer Irene Kreny Accountant Madhukar Balsam Assistant Controller Robert J. Saracena Facilities Manager Daniel Rodriguez Mailroom Beverly McCarthy Mail Order/Reception Collections & Exhibitions Stacy C. Hollander Senior Curator and Director ofExhibitions Brooke Davis Anderson Director and Curator of The Contemporary Center Ann-Marie Reilly Registrar Judith Gluck Steinberg Assistant Registrar/ Coordinator of Traveling Exhibitions Sue Macguire Assistant Registrar Dale Gregory Gallery Manager Misty Dan Assistant Gallery Manager Kenneth R. Bing Security Gina Bianco Consulting Conservator Elizabeth V. Warren Consulting Curator Howard Lanser Consulting Exhibition Designer Education Diana Schlesinger Director ofEducation Lee Kogan Director, Folk Art Institute/Curator ofSpecial Projects for The Contemporary Center Dr. Marilynn Karp Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman Coordinator, New York University Program Departments Cheryl Aldridge Director ofDevelopment Diana DeJesus-Medina Director ofCorporate Development Gina Talocco Development Associate Beth Bergin Membership Director Suzannah Schatt Membership Associate Danelsi De La Cruz Membership Assistant Wendy Barreto Membership Clerk Susan Flamm Public Relations Director Monique A. Brizz-Walker Director ofSpecial Events Katie Hush Special Events Coordinator Alice J. Hoffman Director ofLicensing Marie S. DiManno Director ofMuseum Shops Richard Ho Manager ofInformation Systems, Retail Operations Janey Fire Director ofPhotographic Services Eugene P. Sheehy Volunteer Librarian Rita Keckeissen Volunteer Librarian Katya Ullman Library Assistant Edith C. Wise Consulting Librarian Museum Slap Staff Managers: Dorothy Gargiulo, Rita Pollitt, Marion Whitley;Security: Bienvenido Medina; Volunteers: Marie Anderson, Angela Clair, Sally Frank, Millie Gladstone, Arlene Luden, Nancy Mayer, Judy Rich, Frances Rojack, Phyllis Selnick, Lola Silvergleid, Maxine Spiegel American Folk Art Museum Book and Gift Shop Two Lincoln Square(Columbus Avenue between 65th and 66th Streets) New York, NY 10023-6214 212/595-9533 ext. 26 Administrative Offices American Folk Art Museum 555 West 57th Street, New York, NY 10019-2925 212/977-7170, Fax 212/977-8134,


Profile for American Folk Art Museum

Folk Art (Fall 2001)  

Quilted Constructions: The Spirit of Design • Hawkins Bolden • Silhouette Portraiture in America: A Fully Developed Form of Folk Expression

Folk Art (Fall 2001)  

Quilted Constructions: The Spirit of Design • Hawkins Bolden • Silhouette Portraiture in America: A Fully Developed Form of Folk Expression