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Native Funk & Flash: An Emerging Folk Art

Native Funk & Flash: An Emerging Folk Art

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Native Funk & Flash: An Emerging Folk Art

148 pagine
28 minuti
May 6, 2013


This delightful 1974 classic is replete with new images, updates on favorite artists, and a thoughtful afterword by the author that reflects on what was at the heart of the ’60s counterculture. Native Funk and Flash sits alongside treasured costume and fashion bibles on the shelves of the great designers of our times. Many artists, now in their prime, credit their early encounter with it for their own choice of career and inspiration.

Within these pages hand-embroidered and hand-painted imagery enhance dear old shirts and jeans, serving the dual purpose of extending their usefulness and emblazoning the wearer with messages of love, psychedelic daydreams, and mysticism for all to see. The ethos of a generation is captured here: the scenes, sound, smell, look, politics, spirit, and most of all, the love is expressed in this moment in time when people cared so deeply for one another and the future that they wore it on their sleeves.

Carved wooden doors, chairs, handmade fanciful shoes, beads, leather, incredible jewelry, a playground, patched upholstery—everything was fair game for inventive self-expression, whether one was a skilled adept or a beginner with a dream.

No craft or design collection should be without this book.
May 6, 2013

Informazioni sull'autore

Alexandra Jacopetti Hart has been a textile artist for over fifty years, with her career focused in three main areas. Embroidery as exemplified by her work in Native Funk & Flash is only a small part of her contribution to the history of the dynamic social movements of the 1960’s and 70’s. With this book she captured the essence of the heartful, if naïve, values of the “flower children” and their sincere wish for peace and love; clean air, water, food and environment; equal rights for the oppressed; and freedom of expression of all kinds through the art they created for one another. Now, as these folks have grown into grandparents, they still convey those sincere and basic human desires through the pages of her beloved classic book. It holds a place on the bookshelves of designers and crafts lovers around the world. Folkwear Patterns, which she initiated in 1974, the same year Funk & Flash came out, with friends Ann Wainwright (wife of F&F photographer Jerry Wainwright) and Barbara Garvey (wife of F&F artist Al Garvey), is the second area of her career. This clothing pattern company authentically preserves many ethnic and vintage clothing styles and surface designs and techniques from around the world. They are used as palettes for art wearables designers, home sewers, and theatrical costumers and are still in production today. She was responsible for the written history of the garments and the surface design pattern drafting and instructions. Tapestries; woven, painted, or stitched wall hangings; and peyote-stitched beaded and silver jewelry comprise the third area. Large-scale tapestries hang in many corporate settings from IBM offices to Hyatt Regency hotels. A twelve-foot square playground in Bolinas, CA was the subject of an NEA-funded movie “The Saga of Macramé Park” filmed by Ben Van Meter. Museum and gallery showings of these categories have ranged around the world, and in the Bay Area her work has been included in exhibitions at San Francisco MOMA, The Palace of the Legion of Honor, Oakland Museum, and a variety of smaller venues. Examples from Native Funk & Flash reside in the permanent collection of the Oakland Museum. Over the years her work has been included in numerous books and had extensive periodical coverage. A retrospective exhibition of her fifty years in fiber opens June 7, 2013 at the Occidental Center for the Arts in Occidental, CA.

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Anteprima del libro

Native Funk & Flash - Alexandra Jacopetti Hart

My friendship with photographer Jerry Wainwright started several years before this story begins, back about 1960. In the years that followed, our influence on one another, psychically and aesthetically, were an important pleasure to us both. Jerry’s quiet and steady presence runs behind the words and through the pictures of this book. I hope that he would be pleased to see this reprint in its current form, now more than fifteen years since he left this world. I miss my dear, old friend.

—Alexandra Jacopetti Hart

This book is dedicated to Annie and Roland in its original form,

and to

Michael Cepress in this reprint version for his amazing help in making it come alive once again.


Funk & Flash

An Emerging Folk Art

Alexandra Jacopetti Hart

Photographs by

Jerry Wainwright

(unless otherwise noted)

© Copyright 2013 Alexandra Jacopetti Hart.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or

transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or

otherwise, without the written prior permission of the author.

ISBN: 978-1-4669-8172-0 (sc)

       978-1-4669-8853-8 (e)

Library of Congress Control Number: 2013906732

Trafford rev. 09/30/2014

North America & international

toll-free: 1 888 232 4444 (USA & Canada)

phone: 250 383 6864 ♦ fax: 812 355 4082

In the original editions of this book, the design came about through the cheerfullest cooperation among the author and photographer and Dick Schuettge, Karen Petersen, Frederick Mitchell and Georgia George (who did the cover and dustjacket) —the Scrimshaw Press staff

First and second printing were in 1974, with copyright held by Alexandra Jacopetti and Jerry Wainwright. This new, third edition uses the original artwork with an altered background color for the cover, a size format changed to reflect current book production standards, and an additional section of text and photos at the end as an Afterword.

THIS COLLECTION of contemporary folk art comes mainly from the San Francisco Bay Area, but it is representative of a much more generalized return to home-decorated functional objects. It comes from my own point of view—as a folk artist, and as a participant in the culture from which it springs.

Many of us have hungered for a cultural identity strong enough to produce our own versions of the native costumes of Afghanistan or Guatemala, for a community life rich enough for us to need our own totems comparable to African or Native American masks and ritual objects.

The native funk and flash in this book tell us something of that hunger and what we are doing to fill it, as well as something of the meaning of those artifacts from other places and times. My hope is to make the consciousness behind these folk expressions more understandable and accessible to others and to stimulate people to experience for themselves the joy and fulfillment of making their own art for themselves.

MY FIRST psychedelic patch, as I called it then, was done in 1966, after Roland and our son Hobart returned from a trip to Mount Lassen designed to strengthen the spiritual bonds of father and son. Ben (Roland was still called Ben then) had knelt on

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