By Jay Johnson

This illustrated consultant to American folks artists and their paintings spans a century of painters from Grandma Moses to Kathy Jakobsen and covers such media as sculpture, pottery, and cloth creations.

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I the The viewer is threatened by the gaping jaws and ragged teeth of the hydra; everything stands poised on the brink of the abyss. The impending doom and terror create a tension Miles Carpenter Frog 1978 Carved and painted wood; m 38 15" long Private collection Photo by Bill Buckner Miles Carpenter Woman and Greyhound 1971 Carved and painted wood; 19" x \9Vi" The Hall Collection of American Folk and Isolate Art uncharacteristic of most folk art that viewer. is immediately appealing to the sophisticated Works by Carpenter were included in the exhibit Transmitters: The Isolate Artist in America, organized by the Philadelphia College of Art in 1981, and have been shown at numerous galleries and museums, including the Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia.

For years, he was the master of one of the last commercial sailing ships operating out of Long Island, and his trips up and down the coast of New England and in and out of New York harbor offered a wealth of experience and visual memories. About twenty years ago, Bond began to set these visions down, but he did not do so on canvas or wood or paper, as is the case with most folk artists. Instead, he turned to reverse-glass painting, an ancient art practiced in both Europe and America. The painting is done in oils on the back of a piece of clear glass.

This multiplicity of perspectives and lack of a single light source are, of so wildly — course, characteristics of much primitive painting, but in few cases are they used so dramatically. — Crane painted on a variety of found materials bedsheet, plywood, canvas, and oilcloth and he employed both commercial artist oils and common house paint. The tragedy of the Titanic, which sank in 1912, seems to have fascinated Crane, for he painted several versions of the ship (many years after it sank). Other works are less literal, combining aspects of the familiar seaport town with fantasy elements.

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American Folk Art of the Twentieth Century by Jay Johnson

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