The National Gallery of Canada’s director of publishing and new media was on the line. Blacklock’s asks: What is your acquisition policy on folk art please? Pause. “Well, we don’t have a collection of folk art.” Pause. “What you consider folk art and what I consider folk art is probably not the same thing.”
The Gallery’s Acquisitions Policy running to 16 pages decrees the national collection must reflect aesthetic qualities “of the highest possible nature.” No whirligigs. No macramé. Folk art gets no respect.
It is the squeezebox accordion of the Canadian art world, so ill-defined it’s confused with Christmas crafts or macaroni glued to a tin. “The term is unclear,” note authors John Fleming and Michael Rowan, and is hobbled by raw assumptions that folk art “is aesthetically unsatisfying,” “empty of any serious purpose or moral end,” “unimportant and even trivial” and “requires no formal training.”



