For folk's sake : art and economy in twentieth-century Nova Scotia / Erin Morton.

Includes bibliographical references and index.

"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."-- Provided by publisher.

"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."-- Provided by publisher.

INTRODUCTION 1 The Historical Presentism of Folk Art -- 2 A Genealogy of Folk Art in Canada: Nostalgia and the Ancestry of Modern Art.

PART ONE Art Institutions and the Institutionalization of Folk Art. 3 "Behind ThoseWeathered Doors": Chris Huntington, the Art Gallery of Nova Scotia, and the Institutionalization of the Folkloric Future -- 4 Teaching the Self-Taught: Collins Eisenhauer, the Nova Scotia College of Art and Design, and the Art-World Economies of Folk Art -- 5 "Tales of These Halcyon Days": The Centralized Decentralization of Regional Culture Making.

PART TWO Maud Lewis and the Social Aesthetics ofthe Everyday. 6 Ordinary Affects: Public History, Maud Lewis, and the Cultural Object of Optimism in Rural Nova Scotia -- 7 Commemorative Expectations: The Community-CorporateModel of the Maud Lewis Painted House Preservation -- 8 Art Works: TheMaud Lewis Authority, Tourism, and Neoliberal Copyright.

eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - Worldwide