We are open Wednesday to Sunday, 11:30AM — 6PM. See #AmericanPerspectives, #SixDecades & more. Admission is always free.
Click the link ⤵️ for info.
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Analysis
The total number of IG users following @username on last update.
The total number of IG users that @username was following on last update.
Indicated the number of follower @username has for every user he/she follows.
Indicates how this user uses his/her Instagram account.
The number of photos in @username’s feed. It might not be the same as the total amount of photos posted over time as Instagram offers the option to delete a photo at any time.
The date when @username last posted a photo to his/her feed.
How often does @username usually post a new photo/video.
The average amount of likes a photo by @username gets.
Two users might have an average of 100 likes on their photos. One got 100 likes on every single one of his photos, while the other got 20 in most of them and 2000 in a couple. The first user will have a high consistency while the second one will have a low consistency.
A good consistency is always a good sign.
The average percentage of IG users who follow @username who like his/her photos.
A good engagement rate is a sign of a healthy and responsive community.
The average amount of comments a photo by @username gets.
The average percentage of IG users who follow @username who comment on his/her photos.
Two users might have an average of 10 comments on their photos. One got 10 comments on every single one of his photos, while the other got 2 in most of them and 200 in a couple. The first user will have a high consistency while the second one will have a low consistency.
A low comment consistency can indicate that the average amount of comments might have been affected artificially due to a promotion.
The average percentage of comments a photo gets in relationship to the likes.
popularity
44,712
559
micro influencer
@afamuseum is a micro influencer with 44,712 followers.
content
2,132
nan% vs. nan%
771 chars
3
Oct 12
+ daily
@afamuseum is incredibly active, publishing several times a day, with a poor use of captions but great use of hashtags
community engagement
530 / 1.19%
42%
3 / 0.00007%
31%
@afamuseum's community is poorly engaged but consistent
not good nor bad
very low
low
good
high
very high
History
30 days
90 days
all
date
followers
following
uploads
eng. rate
avg. likes
avg. comments
Oct 13
4
44,712
559
2,132
1.19%
530
3
Oct 12
168
44,708
559
2,131
1.24%
556
4
Oct 08
67
44,540
494
2,127
1.36%
606
4
Oct 04
90
44,473
493
2,124
1.56%
693
5
Sep 30
196
44,383
492
2,119
1.38%
614
5
Sep 26
27
44,187
492
2,115
1.18%
523
4
Sep 25
38
44,160
492
2,113
1.41%
622
5
Sep 24
38
44,122
492
2,111
1.57%
692
5
Sep 23
66
44,084
492
2,111
1.46%
644
5
Sep 20
32
44,018
491
2,109
1.21%
531
4
Sep 19
18
43,986
491
2,107
1.35%
593
5
Sep 18
18
43,968
491
2,106
1.37%
603
5
Sep 17
29
43,950
490
2,106
1.35%
595
5
Sep 16
21
43,921
490
2,105
1.39%
612
5
Sep 15
15
43,900
490
2,104
1.36%
595
5
Sep 14
37
43,885
490
2,103
1.37%
600
5
date
followers
following
uploads
eng. rate
avg. likes
avg. comments
Sep 13
29
43,848
490
2,102
1.33%
583
5
Sep 12
22
43,819
490
2,101
1.35%
591
5
Sep 11
11
43,797
492
2,100
1.38%
605
5
Sep 10
28
43,786
491
2,099
1.55%
677
6
Sep 09
37
43,758
492
2,098
1.52%
667
6
Sep 08
25
43,721
492
2,097
1.42%
621
6
Sep 07
19
43,696
491
2,096
1.42%
620
6
Sep 06
39
43,677
490
2,096
1.39%
607
5
Sep 05
32
43,638
490
2,095
1.32%
574
5
Sep 04
19
43,606
489
2,094
1.26%
549
5
Sep 03
20
43,587
489
2,093
1.25%
545
5
Sep 02
46
43,567
488
2,092
1.19%
519
5
Sep 01
42
43,521
488
2,091
1.24%
541
5
Aug 31
64
43,479
489
2,091
1.18%
511
5
followers vs
Feed
last 12
last 24
last 36
Jan 01 1970 GMT00:33
captions
“The American Folk Art Museum has been a place of safe refuge for outsider artists and folk artists for years. It is a place where we can see Americana crafts in a museum setting and know that the art is respected. I am thankful that I can contribute to an institution like AFAM and I hope that it continues to open doors for many years to come.” — Bisa Butler, sharing her thoughts about and her contribution of this work of art in "For Folk's Sake! Contemporary Artists x the American Folk Art Museum."
Click the link in our bio to bid on this work and over a hundred others @Artsy.
Image: Bisa Butler; Nandi and Natalie; 2007; Inkjet print on paper; 12 x 18.
Quilts historically hold elements of memory and commemoration. Often utilizing remnants of fabric recycled from other textiles, they are encoded with deep meaning that is specific to the maker, the recipient, and those close to the events captured in bits of cloth. ⠀
⠀
The evolution of the crazy quilt coincided with the availability of domestically produced luxury textiles, including velvets, brocades, and silks, and the development of a secondary weaving industry based on commemorative and decorative ribbons woven with a jacquard loom. Known as Stevengraphs, the collectible ribbons were available in hundreds of standardized patterns and could also be specially commissioned. Embellished ribbons, whether woven, printed, or painted, became standard fodder for incorporation into the crazy quilt as shorthand for lived experience.⠀
⠀
This silk quilt made in 1923 by Eudoxia Amelia Kelly Niblin for her niece Euda Aletha Kelly (1911–1964) is on view in "American Perspectives." Click the link in our bio to reserve your ticket. Admission is always free.
⠀
image: Oregon Pioneer Organization Quilt for Euda Aletha Kelly, Eudoxia Aurora Kelly Niblin (1865–1945), Oregon, United States, 1923, Silk with silk embroidery, Gift of Margaret Cavigga 1985.23.9 Photo Credit: John Parnell⠀
⠀
TONIGHT is our Free Music Fridays Facebook Live show from 6-7:30 pm.
This evening features performances by @maycheungmusic, @streetlightshaman, and @yurbymusic, and is hosted by @violaunstrung. Your donation and RSVP are gratefully appreciated.
For more info see the link in the bio.
“For Folk's Sake! Contemporary Artists x the American Folk Art Museum” is now live on @artsy. Click the link in our bio to bid on works by cutting-edge artists while supporting . Visit the auction page to explore selections from over one hundred artists, including Bisa Butler, John Drury, Faith Ringgold, Michelle Grabner, Jenny Holzer, and @kaws.
Proceeds from the auction will help to strengthen the museum’s education programs and exhibitions, as well as ensure free access to its online resources, archives, and library. The auction is live now through October 22 at 5 PM EDT.
Thank you to @NatashaGuralMaiello for the excellent preview article @Forbes about "For Folk's Sake! Contemporary Artists x the American Folk Art Museum." The benefit auction - which opens tonight at 5 PM - includes works of art by over 100 contemporary artists. Click the link in our bio to read the article and stay tuned for posts later today when the auction goes live via @Artsy.
Image: Alonzo Adams; Dream Big; 2020; oil on board; 48 x 36.
Join Curator of Folk Art Emelie Gevalt for "Virtual Insights: Figuring Absence," a conversation with historian Nalleli Guillen on race and representation in 18th- and early 19th-century American art from the American Folk Art Museum and Brooklyn Historical Society's collections, among others, on October 20, at 6:00 p.m. ET. A Q&A session will follow the conversation.
Visit the link in our bio to register.
Image: The Residence of David Twining 1785; Edward Hicks (1780–1849); 1846; Oil on canvas, in original wood frame with paint and gold leaf; 26 1/8 × 29 3/4″; Gift of Ralph Esmerian; 2005.8.13; Photo: John Bigelow Taylor.
hashtags
Jan 01 1970 GMT00:33
captions
Join us in marking Hispanic Heritage Month and discover personal connections to diverse artists and artworks featured in our current exhibition American Perspectives with museum educator Chris Sanchez in a Spanish-language virtual tour on October 14 at 6:00 p.m. ET.
Space is limited! Visit the link in our bio to register.
Image: Felipe Benito Archuleta (1910–1991) Tiger, Tesuque, New Mexico, United States, 1977, Painting and gesso on cottonwood with straw, 32 1/2 × 71 × 17 ", Gift of George H. Meyer, 2000.17 .1, Photograph taken by Paul Primeau.
hashtags
Jan 01 1970 GMT00:33
captions
Calligraphy, or writing as decorative art, was especially popular in America during the second half of the nineteenth century. Originally used as an exercise to train students to perfect their handwriting, steel pen drawings made with repeated cursive flourishes and strokes provided an interesting diversion from the repetitive penning of p’s and q’s in learning to write. Calligraphic drawing also gave the accomplished scribe a means of showing his or her ability and gave penmanship masters a way to advertise their profession.
image: Spencerian Birds, Students of Miss Lilian Hamm (dates unknown), United States, c. 1850–1900, Watercolor and ink on paper, Gift of Cyril Irwin Nelson in memory of his grandparents Guerdon Stearns and Elinor Irwin (Chase) Holden, and in honor of his parents, Cyril Arthur and Elise Macy Nelson. 1983.29.4
Photo Credit: Helga Photo Studio
Our next Free Music Fridays Facebook Live show is next week October 9th from 6-7:30 pm.
The evening features performances by @maycheungmusic, @streetlightshaman, and @yurbymusic, and is hosted by @violaunstrung. Your donation and RSVP are gratefully appreciated.
For more info see the link in the bio.
We think afternoons are best spent exploring art and ideas and invite you to join an upcoming virtual tour of American Perspectives with exhibition curator Stacy C. Hollander on Wednesday, October 7 at 1:00 p.m. ET. Find out more and register with the link in our bio.⠀
⠀
All public programs are free and donations are greatly appreciated!⠀
⠀
Registration Link in the bio.⠀
⠀
⠀
⠀
Image: Mother Sister May Have Sat in That Chair When She Lived in This House Before Me; Jean-Marcel St. Jacques (b. 1972); New Orleans, Louisiana, United States; 2014; Wood, nails, and antique hardware on a plywood backing; 84 × 96″; Jean-Marcel St. Jacques, LLC; 2014.18.2; Photo: American Folk Art Museum; Possum Trot Figure: Helen; Calvin Black (1903–1972) and Ruby Black (1915–1980); Yermo, San Bernadino County, California; 1953–1969; Paint on redwood and pine with fabric and tin; 46 1/2 × 14 × 14″; Gift of Elizabeth Ross Johnson; 1985.35.3; Photo by Gavin Ashworth; Encyclopedic Palace/Palazzo Enciclopedico/Palacio Enciclopedico/Palais Encyclopédique or Monumento Nazionale. Progetto Enciclopedico Palazzo (U.S. patent no. 179,277); Marino Auriti (1891–1980); Kennett Square, Pennsylvania, United States; c. 1950s; Wood, plastic, glass, metal, hair combs, and model kit parts; 11 × 7 × 7′; Gift of Colette Auriti Firmani in memory of Marino Auriti; 2002.35.1; Photographer unidentified.⠀
Join us via Zoom for October's Family Program: Democracy + Art. This interactive, intergenerational program explores two quilts from the exhibition American Perspectives: Stories from the American Folk Art Museum that speak to the history of voting rights in the United States. Registrants will be provided with a simple list of materials to assemble before the program so that we can make art together. This experience is designed for families with children ages 4 and up. Please contact familyprograms@folkartmuseum.org to learn more or register via Eventbrite (link in bio). ⠀
⠀
image: Freedom Quilt; Jessie B. Telfair (1913–1986); Parrott, Georgia 1983; Cotton, with pencil; 74 x 68 in.; Collection American Folk Art Museum, New York; Gift of Judith Alexander in loving memory of her sister, Rebecca Alexander, 2004.9.1⠀
Photo by Gavin Ashworth⠀
⠀
⠀
Quilts historically hold elements of memory and commemoration. Often utilizing remnants of fabric recycled from other textiles, they are encoded with deep meaning that is specific to the maker, the recipient, and those close to the events captured in bits of cloth. ⠀
⠀
The evolution of the crazy quilt coincided with the availability of domestically produced luxury textiles, including velvets, brocades, and silks, and the development of a secondary weaving industry based on commemorative and decorative ribbons woven with a jacquard loom. Known as Stevengraphs, the collectible ribbons were available in hundreds of standardized patterns and could also be specially commissioned. Embellished ribbons, whether woven, printed, or painted, became standard fodder for incorporation into the crazy quilt as shorthand for lived experience.⠀
⠀
This silk quilt made in 1923 by Eudoxia Amelia Kelly Niblin for her niece Euda Aletha Kelly (1911–1964) is on view in "American Perspectives." Click the link in our bio to reserve your ticket. Admission is always free.
⠀
image: Oregon Pioneer Organization Quilt for Euda Aletha Kelly, Eudoxia Aurora Kelly Niblin (1865–1945), Oregon, United States, 1923, Silk with silk embroidery, Gift of Margaret Cavigga 1985.23.9 Photo Credit: John Parnell⠀
⠀
hashtags
#AmericanPerspectives
#AFAM
#Quilting
analysis
This post got
61% more likes
compared to @afamuseum's average. It uses
the average amount of hashtags
and its
caption is 73% longer
814
3
Oct 06 2020 GMT16:02
captions
Join us in marking Hispanic Heritage Month and discover personal connections to diverse artists and artworks featured in our current exhibition American Perspectives with museum educator Chris Sanchez in a Spanish-language virtual tour on October 14 at 6:00 p.m. ET.
Space is limited! Visit the link in our bio to register.
Image: Felipe Benito Archuleta (1910–1991) Tiger, Tesuque, New Mexico, United States, 1977, Painting and gesso on cottonwood with straw, 32 1/2 × 71 × 17 ", Gift of George H. Meyer, 2000.17 .1, Photograph taken by Paul Primeau.
Calligraphy, or writing as decorative art, was especially popular in America during the second half of the nineteenth century. Originally used as an exercise to train students to perfect their handwriting, steel pen drawings made with repeated cursive flourishes and strokes provided an interesting diversion from the repetitive penning of p’s and q’s in learning to write. Calligraphic drawing also gave the accomplished scribe a means of showing his or her ability and gave penmanship masters a way to advertise their profession.
image: Spencerian Birds, Students of Miss Lilian Hamm (dates unknown), United States, c. 1850–1900, Watercolor and ink on paper, Gift of Cyril Irwin Nelson in memory of his grandparents Guerdon Stearns and Elinor Irwin (Chase) Holden, and in honor of his parents, Cyril Arthur and Elise Macy Nelson. 1983.29.4
Photo Credit: Helga Photo Studio
hashtags
#AFAMfromHome
#AFAM
#Calligraphy
#SpencerianBirds
analysis
This post got
200% more likes
compared to @afamuseum's average. It uses
33% more hashtags
and its
caption is 17% longer
854
6
Oct 10 2020 GMT13:08
captions
Quilts historically hold elements of memory and commemoration. Often utilizing remnants of fabric recycled from other textiles, they are encoded with deep meaning that is specific to the maker, the recipient, and those close to the events captured in bits of cloth. ⠀
⠀
The evolution of the crazy quilt coincided with the availability of domestically produced luxury textiles, including velvets, brocades, and silks, and the development of a secondary weaving industry based on commemorative and decorative ribbons woven with a jacquard loom. Known as Stevengraphs, the collectible ribbons were available in hundreds of standardized patterns and could also be specially commissioned. Embellished ribbons, whether woven, printed, or painted, became standard fodder for incorporation into the crazy quilt as shorthand for lived experience.⠀
⠀
This silk quilt made in 1923 by Eudoxia Amelia Kelly Niblin for her niece Euda Aletha Kelly (1911–1964) is on view in "American Perspectives." Click the link in our bio to reserve your ticket. Admission is always free.
⠀
image: Oregon Pioneer Organization Quilt for Euda Aletha Kelly, Eudoxia Aurora Kelly Niblin (1865–1945), Oregon, United States, 1923, Silk with silk embroidery, Gift of Margaret Cavigga 1985.23.9 Photo Credit: John Parnell⠀
⠀