handicraft. However, since the form itself was a distinct type with its function and purpose, folk art has continued to be copied over time by different individuals. Aesthetics of the genre The object is recognized as being Being part of the community, the craftsperson is reflecting on the community's cultural aesthetics, and may take into consideration the community's response to the handicraft. An object can be created to match the community's expectations, and the artist may design the product with unspoken cultural biases to reflect this aim. While the shared form indicates a shared culture, innovation can enable the individual artisan to embody their own vision. This can be a representation of manipulating collective and individual culture, within the traditional folk art production. "For art to progress, its unity must be dismantled so that certain of its aspects can be freed for exploration, while others shrink from attention." This dichotomous representation of the culture is typically visible in the final product. Materials, forms, and crafts Folk art is designed in different shapes, sizes and forms. It traditionally uses the materials which are at hand in the locality and reproduces familiar shapes and forms. The Smithsonian Center for Folklife and Cultural Heritage has compiled a page of storied objects that have been part of one of their annual folklife festivals. The list below includes a sampling of different materials, forms, and artisans involved in the production of everyday and folk art objects. Related terminology Listed below are a wide-ranging assortment of labels for an eclectic group of art works. All of these genres are created outside of the institutional structures of the art world, and are not considered "fine art". There is overlap between these labeled collections, such that an object might be listed under two or more labels. Many of these groupings and individual objects might also resemble "folk art" in its aspects, however may not align to the defining characteristics outlined above. Influence on mainstream art Folk artworks, styles and motifs have inspired various artists. For example, Pablo Picasso was inspired by African tribal sculptures and masks. Natalia Goncharova and others were inspired by traditional Russian popular prints called luboks. In 1951, artist, writer and curator Barbara Jones organised the exhibition Black Eyes and Lemonade at the Whitechapel Gallery in London as part of the Festival of Britain. This exhibition, along with her publication The Unsophisticated Arts, exhibited folk