The Magazine Antiques

America’s premier publication on the fine and decorative arts, architecture, preservation, and interior design. Each bimonthly issue includes regular columns on current exhibitions, personalities in the field, notes on collecting, book reviews, and more.

The Magazine Antiques

EDITOR'S LETTER

Blind Spots

William Edmondson at the Barnes

Art and Executive Order 9066

Women take the stage at the Thomas Cole House

END GAME

Hector Guimard, Architecte d'art, at the Driehaus

This is your life, Frederick Douglass

One Artist's Notes on Visiting an Art Fair

Brooches as Books, Necklaces as Novellas • THE NARRATIVE ART JEWELRY OF BARBARA PAGANIN

Second Sight • THE INTUIT MUSEUM EMBODIES CHICAGO'S LONGSTANDING APPRECIATION FOR SELF-TAUGHT AND OUTSIDER ART

A Blueprint for Early America

Clay, Water, and Spirit • An exhibition of Pueblo pottery seeks to reveal the soul that resides within the art

Changing Minds, One Pot at a Time

Seamless Transition • An excerpt from the book The New Antiquarians takes us into the Maine home of a young clothing designer turned folk art collector and dealer

Community Chest • Artist and artisan Madeline Yale Wynne and the founding of the Deerfield arts and crafts movement

From a Chain Gang to Art Museums • Overcoming extraordinary adversity, self-taught artist Winfred Rembert preserved his fraught past in words and in startling images made of tooled and painted leather

Narratives in the Needlework • Storytelling through quilts in the collection of the American Folk Art Museum

Making Faces

EVENTS • EXHIBITIONS SYMPOSIUMS LECTURES

Making Choices • How did they make that? It's a question that often comes up when looking at a work of art, especially ones that don't fit neatly into our traditional definitions. Thanks to a generous grant from the Henry Luce Foundation, the American Folk Art Museum has hired Brooke Wyatt, an assistant curator whose first exhibition at the museum, Material Witness: Folk and Self-Taught Artists at Work, addresses that very question—and the layered nuances it encompasses. She writes: