"American artist James Castle inhabited a world of utter quiet, where the mundane became miraculous. Born to a family of homesteaders in the mountains of central Idaho in 1899, he was deaf from an early age. Perhaps not coincidentally, he developed an extraordinary visual and spatial memory. This gave him a dictionary of images of his home, farm, and valley that he replicated and manipulated for the rest of his life in a series of extraordinary soot and saliva drawings. Castle's particular environment and experience gave him access to other, more surprising sources for his art. His parents ran the local post office and store, which supplied an array of images from burgeoning early twentieth century print culture. He collected scrap paper and cardboard, which he cut up and stitched together into farm animals, furniture, and clothing. Castle spent several years at a school for the deaf, where he picked up only the rudiments of language. But he used his knowledge of letters, words, and multiple alphabets-some of his own devising-to create an arresting range of enigmatic text-based drawings. In this book, author John Beardsley delves into Castle's work as an expression of his acute capacity for remembering, managing, and improvising on visual information. Castle's work will be presented as if moving through a series of environments: inside, outside, landscape, figure, book. This allows us to imagine the visual and spatial world Castle inhabited. This publication will also be the first to include a definitive biography of the artist"--]cProvided by publisher.

A richly illustrated history of self-taught artists and how they changed American art Artists without formal training, who learned from family, community, and personal journeys, have long been a presence in American art. But it wasn’t until the 1980s, with the help of trailblazing advocates, that the collective force of their creative vision and bold self-definition permanently changed the mainstream art world. In We Are Made of Stories, Leslie Umberger traces the rise of self-taught artists in the twentieth century and examines how, despite wide-ranging societal, racial, and gender-based obstacles, they redefined who could be rightfully seen as an artist and revealed a much more diverse community of American makers. Lavishly illustrated throughout, We Are Made of Stories features more than one hundred drawings, paintings, and sculptures, ranging from the narrative to the abstract, by forty-three artists—including James Castle, Thornton Dial, William Edmondson, Howard Finster, Bessie Harvey, Dan Miller, Sister Gertrude Morgan, the Philadelphia Wireman, Nellie Mae Rowe, Judith Scott, and Bill Traylor. The book centralizes the personal stories behind the art, and explores enduring themes, including self-definition, cultural heritage, struggle and joy, and inequity and achievement. At the same time, it offers a sweeping history of self-taught artists, the critical debates surrounding their art, and how museums have gradually diversified their collections across lines of race, gender, class, and ability. Recasting American art history to embrace artists who have been excluded for too long, We Are Made of Stories vividly captures the power of art to show us the world through the eyes of another. Published in association with the Smithsonian American Art Museum Exhibition Schedule Smithsonian American Art Museum, Washington, DC July 1, 2022–March 26, 2023

Caldecott Medal winner Allen Say brings his lavish illustrations and hybrid narrative and artistic styles to the story of artist James Castle. James Castle was born two months premature on September 25, 1899, on a farm in Garden Valley, Idaho. He was deaf, mute, autistic, and probably dyslexic. He didn't walk until he was four; he would never learn to speak, write, read, or use sign language.Yet, today Castle's artwork hangs in major museums throughout the world. The Philadelphia Museum of Art opened "James Castle: A Retrospective" in 2008. The 2013 Venice Biennale included eleven works by Castle in the feature exhibition "The Encyclopedic Palace." And his reputation continues to grow.Caldecott Medal winner Allen Say, author of the acclaimed memoir Drawing from Memory, takes readers through an imagined look at Castle's childhood, allows them to experience his emergence as an artist despite the overwhelming difficulties he faced, and ultimately reveals the triumphs that he would go on toachieve.

For a full list of entries, contributors, and more, visit the Encyclopedia of American Folk Art web site. This is the first comprehensive, scholarly study of a most fascinating aspect of American history and culture. Generously illustrated with both black and white and full-color photos, this A-Z encyclopedia covers every aspect of American folk art, encompassing not only painting, but also sculpture, basketry, ceramics, quilts, furniture, toys, beadwork, and more, including both famous and lesser-known genres. Containing more than 600 articles, this unique reference considers individual artists, schools, artistic, ethnic, and religious traditions, and heroes who have inspired folk art. An incomparable resource for general readers, students, and specialists, it will become essential for anyone researching American art, culture, and social history.

Folk art is as varied as it is indicative of person and place, informed by innovation and grounded in cultural context. The variety and versatility of 300 American folk artists is captured in this collection of informative and thoroughly engaging essays. American Folk Art: A Regional Reference offers a collection of fascinating essays on the life and work of 300 individual artists. Some of the men and women profiled in these two volumes are well known, while others are important practitioners who have yet to receive the notice they merit. Because many of the artists in both categories have a clear identity with their land and culture, the work is organized by geographical region and includes an essay on each region to help make connections visible. There is also an introductory essay on U.S. folk art as a whole. Those writing about folk art to date tend to view each artist as either traditional or innovative. One of the major contributions of this work is that it demonstrates that folk artists more often exhibit both traits; they are grounded in their cultural context and creative in the way they make work their own. Such insights expand the study of folk art even as they readjust readers' understanding of who folk artists are.

Exploring thirty years of work by The Centre for Performance Research (CPR), A Performance Cosmology explores the future challenges of performance and theatre through a diverse and fascinating series of interviews, testimonies and perspectives from leading international theatre practitioners and academics. Contributors include: Philip Auslander, Rustom Bharucha, Tim Etchells, Jane Goodall, Guillermo Gomez-Pena, Jon Mckenzie, Claire MacDonald, Susan Melrose, Alphonso Lingis, Richard Schechner, Rebecca Schneider, Edward Scheer, and Freddie Rokem. A Performance Cosmology is structured as a travelogue through a matrix of strategic, imaginary, interdisciplinary field stations. This innovative framework enables readings which disrupt linearity and afford different forms of thematic engagement. The resulting volume opens entirely new vistas on the old, new, and as yet unimagined, worlds of performance.

In this study of the reign of James II of Scotland, the king is viewed in the context of the Stewart monarchy, from his struggles to overcome his early adversity and the legacy of his father's style of kingship, to the serious political crises of his reign. The relations between the king and his subjects, and the complex balance of power in medieval Scotland are examined, particularly the significant crisis precipitated by James II's attack on the Black Douglases, the greatest of all late medieval magnate families. The changing nature of political involvement among the nobility and the role of Parliament in influencing events are explored, as are the efforts of the king to recover and promote royal authority in the final years of his reign. The role of James II in the wider European context is also studied with a view to shedding light on contemporary perceptions of the Stewart monarchy both at home and abroad. The study is based on contemporary chronicle and official sources, and consideration is also given to later, highly coloured views of James II, which have influenced popular views of the king to the present day.