The Temptation: Edgar Tolson and the Genesis of Twentieth-Century Folk Art (Paperback)

by Julia S. Ardery (Author) "Why did Edgar Tolson wear striped pants?..." (more)
Key Phrases: folk art collecting, folk art field, nonacademic art, Edgar Tolson, New York, Michael Hall (more...)

Editorial Reviews

Review
Julia Ardery, a writer based in Lexington, Kentucky, is the author of several articles on folk and outsider art. Here she undertakes a broad look at how the search for "authenticity" affected the discipline of contemporary folk art. Ardery suggests that the discipline of folk art, while originally motivated by egalitarian ideals, particularly those of white liberalism, its cultural and governmental manifestations in the late 1960s, evolved into a framework for collectors and dealers to view the artists as marginalized, exotic, and strange. Set against the backdrop of the discipline between 1965-1985, is the story of Kentucky woodcarver Edgar Tolson. One of the best known folk artists, Tolson features prominently in several influential books on 20th-century folk art written in the 1970s. He was represented by New York galleries, and featured in the Whitney Museum's 1973 Biennial Exhibition of Contemporary American Art. In spite of this recognition, as a "folk artist" he was depicted by dealers, collectors, and the media as an exotic Other: "It isn't clear just how many children he has fathered since his stroke, but it seems he's had about a half-dozen;" "Educated through the sixth grade, he has been married twice and is the father of 18 children;" "[Tolson wore] a pair of baggy brown slacks, a white shirt with a stain over his heart and a T-shirt soiled along the neckline." Examining the rhetoric used by dealers and collectors, Ardery demonstrates that the elements of pilgrimage to an artists' home, the "hunting" of pieces and new artists, and the exoticism of locale were equally (or more) important than the art object itself. Drawing on in-depth interviews with Edgar Tolson's family, art dealers, collectors, and folklorists, Ardery presents an exceptional historical overview of the ideals and conflicts within the field of contemporary folk art. -- From Independent Publisher --This text refers to the Hardcover edition.

Review
[Written] with a true storyteller's skill and the objectives of a journalist and activist.

American Quarterly

Absorbing.

Appalachian Journal

[The book's] thoroughness and completeness of documentation are masterful.

Louisville Courier-Journal

[This] will be of interest to any folk art enthusiast or cultural historian.

Folk Art Finder

A welcome addition to the still all-too-slim library of thoughtful studies on key contemporary folk artists.

Lynda Roscoe Hartigan, National Museum of American Art, Smithsonian Institution

See all Editorial Reviews

Product Details

• Paperback: 376 pages
• Publisher: The University of North Carolina Press (April 1, 1998)
• Language: English
• ISBN-10: 0807847003
• ISBN-13: 978-0807847008
• Product Dimensions: 10 x 6.8 x 1.1 inches
• Shipping Weight: 1.8 pounds
• Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)
• Amazon.com Sales Rank: #1,766,439 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

5.0 out of 5 stars A granddaugther from Guam who loved Edgar Tolson & the book., May 8, 1998

By A Customer

This review is from: The Temptation: Edgar Tolson and the Genesis of Twentieth-Century Folk Art (Hardcover)

Ms. Julia S. Ardey has put together an extraordinary work -- filled with stories and pictures of a poor Kentucky man who whittled stuff to which other folks took a liking. My grandfather Edgar Tolson will always remain an elusive character both in life and in death hard to explain and to understand. As all great artists he was not one dimensional. Ms. Ardey did a fine job of grasping enough bits and pieces of his life, through the eyes and hearts of those who knew him, to give a reasonable representation of who Edgar Tolson was and why he whittled. Ms. Ardey interviewed scores of people and personalities who all have their own opinion of Edgar Tolson the Man and Edgar Tolson the Woodcarver and the times in which he lived. Ms. Ardey managed a remarkable feat in compling those interviews into an a very good work. She included many pictures that give insight into an artisan and his art. Many pictures capture Edgar's soul in his eyes -- others show a family life of just real folks who just have a Daddy that whittles in the living room and lets the shavings fall to floor. As a granddaugther of Edgar Tolson, beloved Kentucky woodcarver, I am very pleased with the work Julia S. Ardery managed to put together on his life and extraordinary talent. With a family as large as he had I am sure that this book will be debated into generations, however, it is a real good starting point at which to kick off the debate of fact or fiction. The papaw I knew was a wonderful minister; he loved his God, knew his bible and had a passion for sharing the Biblical Truths of his God with others through his work. He managed to reach the very far corners of the earth with his renditions of Adam & Eve in Garden of Eden, Their Fall, and Noah's Ark among a few--how many ministers can stake that claim. He carved what was upon his heart to carve. He was discovered by others who marketed it to a world who craved his carvings and what they represented to them. I am so pleased that Ms. Ardery managed to compile so much ! of his life and work into this book. It makes for really good reading and gives the reader the opportunity to linger with story and photo's of Edgar Tolson and his artwork long enough to gain an understanding of why so many are so drawn to it, him and living upon this earth. Thank you Ms. Ardery for a job well done.

2 of 2 people found the following review helpful:

5.0 out of 5 stars Essential Book for the Folk Art Library, May 28, 2002

By A Customer

This review is from: The Temptation: Edgar Tolson and the Genesis of Twentieth-Century Folk Art (Hardcover)

Whether you are a fan of Edgar Tolson's work or of woodcarving in general, this is an essential book to have if you are interested in folk art of the 20th century. The thorough research done on Edgar Tolson is fascinating and through his art and career the world of 20th century folk art is examined. From key folk art collectors to various museums and institutions, the 20th century folk art movement was created and sold to the buying public. By the time the "important" artists were established all of the "important" early work was already in the hands of a few collectors and the museums. It's no accident that Tolson's work ended up in a prestigious Whitney Biennial and his artwork sky-rocketed in price. The same with Howard Finster. By the time his work was presented as being important to the general public, a narrow group of collectors and critics had already hoarded the first few thousand of his numbered pieces which the critics then deemed as the most important of his career. And the story continues to this day with collectors / critics buying early key works, then recommending them to the general folk art buyers. This book is perhaps the best analysis of why and how a folk artist becomes "important" in the 20th century. It may or may not sour your view on 20th century folk art but is a great read either way. As with all art or decorative objects, if you just buy what you like and ignore the critics, you'll be happy. Who's to say 10, 20 or 50 years from now if anyone will even care about "20th century folk art."