User:Lil Ducky 18/Appalachian Folk Art/Bibliography

Name: Lizzie Windsor and Maya Duckworth

Article Topic/Title: Appalachian Folk Art

Annotated Bibliography

Barnett, Teresa, and Julia S. Ardery. "The Temptation: Edgar Tolson and the Genesis of Twentieth-Century Folk Art." The Oral History Review, vol. 27, no. 1, winter 2000, p. 160. Gale Literature Resource Center, link.gale.com/apps/doc/A61185779/LitRC?u=googlescholar&sid=googleScholar&xid=da1ead40.

It also examines how Tolson's artistic talent was discovered and nurtured by people like artist and teacher Enid Yandell and Berea College President William Goodell Frost. The book also discusses Tolson's unique style and the themes of his work, including religion, mortality, and Appalachian culture. The author argues that Tolson's art represents a bridge between traditional folk art and the modernist art of the 20th century. The book includes numerous images of Tolson's sculptures and explores his impact on the world of American folk art.

Evans, Mari-Lynn, Holly George-Warren, and Robert Santelli. The Appalachians: America's First and Last Frontier. Morgantown, WV: West Virginia University Press, 2013.

This book outlines the history and culture of the Appalachian region and how this specific culture was important to the nation. It uses firsthand experiences and reports of the culture, including music, art, literature, and film. There are many pictures used to describe the culture included in the book. The author argues that the society is very underrated and underappreciated and goes forth to prove those ideas wrong with direct examples of Appalachian history and legacy.

Fariello, Anna. "Arts and Crafts in appalachia the third wave." Style 1900, vol. 16, no. 1, winter-spring 2003, pp. 70+. Gale Academic OneFile, link.gale.com/apps/doc/A97822313/AONE?u=byuprovo&sid=bookmark-AONE&xid=c77ba8f4.

The article discusses the Arts and Crafts movement in America and its impact in Appalachia, particularly through the efforts of Berea College and Christiansburg Industrial Institute. William Goodell Frost, the president of Berea College, saw education as a means to reform mountain settlers who were often stereotyped as backward and incapable of learning. Frost used the creation of woven coverlets as evidence of the mountain folk's capabilities and initiated the annual Homespun Fair, which marked the beginning of the Arts and Crafts movement in Appalachia. Christiansburg Industrial Institute, a school for African American children, also embraced the movement and taught handcrafts. The article also mentions the founding of the John C. Campbell Folk School, which was modeled after Danish folkehojskole and contributed to the continuation of the Arts and Crafts movement in the Southern Highlands.

Isbell, Robert The Keepers: Mountain Folk Holding on to Old Skills and Talents. Winston-Salem, NC: John F. Blair, 1999.

The book explains the meeting between Wayne Henderson and Bea Hensley and their discovery of shared history in the Appalachian region. As they reminisce on the history of the Appalachian territory, they discuss the culture, including artist Arlee Mains who was a folk artist who used mainly oil for her paintings. The book honors “The Keepers” or, in other words, the people that built the foundation of Southern society. As they talk about other artisans that have contributed to Appalachian culture for generations, the culture they examine goes on to explain who they are.

Lampell, Ramona. O, Appalachia: Artists of the Southern Mountains. New York, NY: Stewart, Tabori & Chang, 1989.

The book features profiles of several notable Appalachian artists, including Annie Lee Bryson, who was known for her watercolor paintings of the region, and Homer "Possum" Jenkins, a traditional musician who played the banjo and fiddle. Through these profiles and others, Montell provides a window into the lives and art of the people of the southern Appalachian region.

Nosanow, Barbara Shissler. More than Land or Sky: Art from Appalachia. Washington, D.C., WV: Published for the National Museum of American Art by the Smithsonian Institution Press, 1981.

The essays and interviews in the book cover a wide range of topics, including the historical, cultural, and economic contexts in which Appalachian art is produced. They also explore the ways in which Appalachia has been represented in popular culture, as well as the ways in which artists from the region are challenging and redefining those representations. Throughout the book, the artists themselves share their personal stories and perspectives on what it means to create art in Appalachia. Their work is deeply rooted in the landscape, history, and traditions of the region, and reflects the unique challenges and opportunities of living in a place that is often overlooked and marginalized by mainstream society.

Oliver, Valerie. Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse. Richmand, VA: Duke University Press, 2021.

The book includes a range of art forms, including painting, sculpture, photography, and mixed media. Through interviews with the artists and critical essays, the book examines themes such as race, identity, memory, and politics that are central to the art of the American South. The book also provides a historical and cultural context for the art, discussing the legacy of slavery, the civil rights movement, and the ongoing struggles for social justice in the region. Overall, "The Dirty South" provides a compelling portrait of the vibrant and diverse contemporary art scene in the American South.

Rehder, John B. Appalachian Folkways. Baltimore, MD: Johns Hopkins University Press, 2004.

This book is based on the discoveries and experience of the thirty years John Rehder studied Appalachian folklife. His accounts characterize the Appalachian society as a distinct region with many misconceptions. As he explores the landscape of southern Appalachia, he applies the physical geography to Appalachian culture and how different aspects such as folk music, art, and festivals are still prominent today. The once distinct culture is now admired by many even as it is fading.

Parker, Bethann. “Appalachian Narratives: Dreamscapes.” Terrain.org, January 17, 2023. https://www.terrain.org/2023/arterrain/bethann-parker/.

This article presents the life of Bethann Parker, a woman from northeast Appalachia and gives a little context to her life and how it led to painting. Descriptions about quirky ways to create art are followed by a gallery of Parker’s paintings which are bright and textured. Her art shows an Appalachian folk background through the landscapes and the animals painted in each one.

Printz, Alison. “The Modernist Appalachian Aesthetic: The Art of Patty Willis.” The Modernist Appalachian Aesthetic: The Art of Patty Willis, November 9, 2022. https://journalpanorama.org/article/the-modernist-appalachian/.

Patty Willis was an Appalachian painter and designer whose works truly reflected the Appalachian culture. Even as a young girl she began to turn towards art and used the resources in many cities to aid her in her journey. With the Provincetown Art Association, she began to be known as an artist, going on to show her work in galleries and, at one point, the World Fair. Her upbringing in West Virginia affected her art as she used many symbols and representations that come from Appalachia. Other artists such as Charles Burchfield and Grant Wood are also mentioned in the article, comparing their work to that of Patty Willis. Various paintings by Patty Willis are shown and analyzed on the website.

Williams, Elizabeth M. “Special Collections Research Center.” Contemporary Folk Painting in Appalachia, August 2, 2019. https://collections.library.appstate.edu/research-aids/contemporary-folk-painting-appalachia.

The website gives a definition of Folk Painting specific to the Appalachian region. It describes the difficulty of Appalachian folk art and how it differs from other folk art. The site also provides artists, books, bibliographies, and much more to create a foundation for the various Folk Painting in Appalachia.

Wright, Jack. “Appalachian ‘Art Brut’: Reflections on the Life Works of Fred J. Carter.” Appalachian Journal 29, no. 1/2., 2001.

Fred J. Carter, who was born with a physical disability and spent most of his life in poverty, never received any formal art training. His works are characterized by their use of found objects and recycled materials such as bottle caps, wire, and broken glass. Carter's art often features intricate geometric designs and vibrant colors, which are meant to evoke the patterns and rhythms of Appalachian music. Carter's life and work are a testament to the resilience and creativity of the Appalachian people, who have long been associated with poverty, isolation, and hardship. His art serves as a powerful reminder that even in the most difficult circumstances, it is possible to find beauty and meaning through creative expression.