Winter 2016

2016 Antiques & Fine Art 115 Sheldon Peck (1797–1869), Portrait of Abigail Munro Bosworth, Dundee, Illinois, 1840. Oil on canvas 36¾ x 34¼ inches. American Folk Art Museum, New York; Gift of the families of Abbie Louise Bosworth Williams and Eleanora Bosworth Black (2016.3.2). Photo by Gavin Ashworth. New Acquisition; one of a pair. Blanket chest, artist unidentified, Matteson type, vicinity of South Shaftsbury, Vermont, ca. 1825. Paint on wood, 40 x 40 x 17¾ inches, American Folk Art Museum, New York; Gift of Howard and Jean Lipman in honor of Robert Bishop, American Folk Art Museum director (1977–1991), (1991.10.1). Photo by John Parnell. Did You Know: Admission to AFAM is FREE! Did You Know: Past exhibitions can be viewed on AFAM’s website. “alternating our shows between traditional folk art and self-taught art. An exhibition on the work of Ronald Lockett, an artist from recent past, just closed,” she says. “And Securing the Shadow: Posthumous Portraiture in America , recently opened; it will be followed by a show on the work of self-taught artists Carlo Zinelli and Eugene Gabritschesky.” Other museum outreach projects include traveling exhibitions, such as the already noted Self Taught Genius , and loan shows. “Crystal Bridges Museum of Art approached us,” says Radice, “and suggested we do a show for them, American Made: Treasures from the American Folk Art Museum” (July 2–September 18, 2016). “This exhibit marked the first folk art exhibition held at Crystal Bridges, and they organized strong programs around it.” Radice adds, “We hope to partner with them again in the future.” It’s creativity like this that will keep AFAM in the forefront of people’s minds. Creativity and gumption to take risks, such as a show AFAM sent earlier this year to the Huntsville Museum of Art: Folk Couture: Fashion and Folk Art , the likes of which had never been previously undertaken. A natural at forging strategic partnerships, Radice enlisted the help of the head of New York’s Fashion Institute of Technology (FIT) in finding a co-curator for the show along with AFAM curator Stacy Hollander. The result was stellar and, along with the other outreach successes, focuses on the types of attendance-building that AFAM will continue to expand. Another way the museum enhances its profile and draws an audience is with free admission. Written into the contract for the Lincoln Square location, the museum cannot charge an entry fee. Though they forgo the added revenue that admission would bring, foot traffic is breaking records, and Radice and her staff have created other revenue generators such as the museum store, described as “one of the world’s best museum gift stores” by Conde Nast Traveler. Located by the museum entrance, the shop generates nearly as much revenue as is “lost” to free admission. AFAM also takes advantage of its location across from Lincoln Center by staying open until 7:00 p.m., attracting not only the opera crowd but people looking for after-work activities, as well as younger people, who, more and more, are looking to incorporate museums into their social schedules. It’s up to museums to recognize this phenomenon and respond to it. AFAM has heard the call to action