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This volume investigates Pacific collections held in Australian museums, art galleries and archives, and the diverse group of 19th and 20th century collectors responsible for their acquisition. The nineteen essays reveal varied personal and institutional motivations that eventually led to the conservation, preservation and exhibition in Australia of a remarkable archive of Pacific Island material objects, art and crafts, photographs and documents. Hunting the Collectors benchmarks the importance of Pacific Collections in Australia and is a timely contribution to the worldwide renaissance of interest in Oceanic arts and cultures. The essays suggest that the custodial role is not fixed and immutable but fluctuates with the perceived importance of the collection, which in turn fluctuates with the level of national interest in the Pacific neighbourhood. This cyclical rise and fall of Australian interest in the Pacific Islands means many of the valuable early collections in state and later national repositories and institutions have been rarely exhibited or published. But, as the authors note, enthusiastic museum anthropologists, curators, collection managers and university-based scholars across Australia, and worldwide, have persisted with research on material collected in the Pacific.This volume is a very important one for anyone studying the art and material culture of the Pacific. It focuses on collections now in Australia. Even those well versed in museum collections from the Pacific will learn about many important but little-known collectors as well as better-known figures like the anthropologists F. E. Williams and Thomas Farrell, the husband of Queen Emma. This will be a treat for students and specialist alike.-Professor Robert L. Welsch, University of Dartmouth
This description is for the Inuktitut edition.Nunatsiavut, tAcnna Inuit nunakKatigengituk Canada-mit pitAclauttut namminik kavamamik 2005-imi, sanaKattajut sananguatausimajunik adjiKangitunik nunatsualimAcmit Canadamiungutlutik ammalu ukkiuttatop KikKanganettuk Inuit sananguataumajut. SilatsualimAcmi siKinganeluattuk inigijautluni Inutuinnanut, tamakkua satjugiamit inuit Nunatsiavummi iniKainnatut napattop killingani, ammalu Inuit allanguattingit ammalu sananguatingit Nunatsiavummit pitAcsongunginnatut adjigengitunik ukiuttattumi ammalu ukiuttattoKattangimmijuk pigutsianginnik, taikkunangat atuKattasimajut takuminattunik sanagalagiamik suliagijanginnit.Allanguattet nunanganit piusituKanginnit atuKattasimavut ukkusitsajannik ammalu Kijunik sananguagiamut; amilinnik, tuttujannik, ammalu Kisinik atuttausonik sanaKattajut; ammalu tagiulinnit ivinik sanaKattamijut, ammalugiallak allasajannik, kikiatsajak, KallunActtajak, sapangak, ammalu alakkasAcjannik. MAcnnaKammik, sanagalasimavut sanajaunginnatunik takugatsausongutlutik, ilautillugit minguattausimajut, allanguattausimajut, nenittausimajut, adjiliuttausimajut, taggajAcliuttausimajut, ammalu maggalinnit, atautsikut atutlutik piusituKannik atunginnatamminik nutAcngutlutik ammalu nigiugijausimangitunut piusitKatlutik.SakKijAcjuk: Allanguattausimajut ammalu sananguatausimajut Nunatsiavummit sivulligijauvuk angijotluni nuititausimajuk allanguattausimajunit Labrador Inunginnit. Sanajauluasimajuk angijummagimmik apvitattitaulluni takugatsauniattilugit AckKisuttausimajuk taikkununga taijaujunut The Rooms PrAcvinsikkut Allanguattausimajunik Takujapvinganut St. John's-imit, atuagak pitaKalangavuk ungatAcni 80-nik sanajaugesimajunut 45-init adjigengitunit sananguatinut, kinakkoningit iluanemmijut sananguatet, ammalu angijummagik allataumajuk sananguatet pitjutigillugit Nunatsiavummit allasimajuk Heather Igloliorte.SakKijAcjuk pivitsaKattisijuk atuatsiKattajunut, katitsuiKattajunut, allanguattinut piusituKaujunut, ammalu katitsuiKattajunut sunatuinnanik sananguatausimajunit siKinittini ammalu taggatinni takujagiattulAckKut taikkununga adjiKangitunut, sanajautsiasimajunut, ammalu takuminattusiavannik suliagijausimajunut Inuit sananguatinginnut ammalu allanguattinginnut Nunatsiavummit.
This richly illustrated book explores the contested history of art and nationalism in the tumultuous last decades of British rule in India. Western avant-garde art inspired a powerful weapon of resistance among India's artists in their struggle against colonial repression, and it is this complex interplay of Western modernism and Indian nationalism that is the core of this book. "The Triumph of Modernism" takes the surprisingly unremarked Bauhaus exhibition in Calcutta in 1922 as marking the arrival of European modernism in India. In four broad sections Partha Mitter examines the decline of oriental art and the rise of naturalism as well as that of modernism in the 1920s, and the relationship between primitivism and modernism in Indian art: with Mahatma Gandhi inspiring the Indian elite to discover the peasant, the people of the soil became portrayed by artists as noble savages. A distinct feminine voice also evolved through the rise of female artists. Finally, the author probes the ambivalent relationship between Indian nationalism and imperial patronage of the arts. With a fascinating array of art works, few of which have either been seen or published in the West, "The Triumph of Modernism" throws much light on a previously neglected strand of modern art and introduces the work of artists who are little known in Europe or America. A book that challenges the dominance of Western modernism, it will be illuminating not just to students and scholars of modernism and Indian art, but to a wide international audience that admires India's culture and history.
In western culture, rock art has traditionally been viewed as ""primitive"" and properly belonging in the purview of anthropologists rather than art scholars and critics. This volume, featuring previously unpublished photographs of Utah's magnificent rock art by long-time rock art researcher Layne Miller and essays by former Utah state archaeologist Kevin Jones, views rock art through a different lens. Miller's photographs include many rare and relatively unknown panels and represent a lifetime of work by someone intimately familiar with the Colorado Plateau. The photos highlight the astonishing variety of rock art as well as the variability within traditions and time periods. Jones's essays furnish general information about previous Colorado Plateau cultures and shine a light on rock art as art. The book emphasizes the exqui site artistry of these ancient works and their capacity to reach through the ages to envelop and inspire viewers.
This description is for the French edition.Le Nunatsiavut, rA (c)gion inuite du Canada qui possAde une administration autonome depuis 2005, a une production artistique A part dans le monde de l'art canadien et de l'art inuit circumpolaire. Population inuite la plus mA (c)ridionale au monde, le peuple cA'tier du Nunatsiavut a toujours vA (c)cu A cheval sur la limite forestiAre, et les artistes et artisans inuits du Nunatsiavut ont eu accAs A une flore et une faune arctique et subarctique trAs diversifiA (c)es, A partir desquelles ils ont crA (c)A (c) des Auvres d'une surprenante variA (c)tA (c).Les artistes du territoire se sont traditionnellement servis de la pierre et du bois pour sculpter, de la fourrure, du cuir et de la peau de phoque pour l'art mobilier et des graminA (c)es marines pour la vannerie, ainsi que de la laine, du mA (c)tal, du tissu, des perles et du papier. Plus rA (c)cemment, ils ont travaillA (c) avec des techniques que l'on retrouve en art contemporain, comme la peinture, le dessin, la gravure, la photographie, la vidA (c)o et la cA (c)ramique, sans pour autant dA (c)laisser les matA (c)riaux traditionnels, utilisA (c)s de maniAre novatrice et inusitA (c)e.SakKijAcjuk. Art et artisanat du Nunatsiavut est la premiAre publication d'importance sur l'art des Inuits du Labrador. Acrit pour accompagner une exposition itinA (c)rante majeure conAue par The Rooms Provincial Art Gallery Division de St. John's, l'ouvrage comprend plus de 80 reproductions d'Auvres de 45 artistes, une prA (c)sentation de ces derniers et un essai de fond sur l'art au Nunatsiavut signA (c) par la commissaire Heather Igloliorte.SakKijAcjuk "Atre visible" a prendre sa placeadans le dialecte inuktitut du Nunatsiavut) constitue une occasion unique pour les lecteurs, collectionneurs, historiens de l'art et amateurs d'art du Sud comme du Nord de crA (c)er une relation particuliAre avec le travail diffA (c)rent, novateur et toujours saisissant des artistes et artisans inuits contemporains du Nunatsiavut.
The decades of the 1960s, '70s, and '80s were a time of growth and change in producing, marketing, and collecting Native American artwork and craftwork. During this time William R. Wright amassed a collection notable for its broad representation of twentieth-century Native American products. Focusing on the Southwest, he included contemporary Pueblo ceramics, Navajo and Hopi textiles, Navajo, Hopi, and Zuni jewelry, and baskets from some forty different Native American groups. The objects Wright gathered, which are now part of the collections of the Peabody Museum of Archaeology and Ethnology, reflect developments in the intersecting worlds of makers, markets, and collectors, including the challenges faced by makers to successfully balance tradition and innovation in their work and their lives.
This volume examines selected objects from the Wright collection to explore the market-influenced environment of modern Native American makers and their work, from what some consider the low end of tourist art multiples to the high end of unique, signed fine art objects.
Although Franz Boas--one of the most influential anthropologists of the twentieth century--is best known for his voluminous writings on cultural, physical, and linguistic anthropology, he is also recognized for breaking new ground in the study of so-called primitive art. His writings on art have major historical value because they embody a profound change in art history. Nineteenth-century scholars assumed that all art lay on a continuum from primitive to advanced: artworks of all nonliterate peoples were therefore examples of early stages of development. But Boas's case studies from his own fieldwork in the Pacific Northwest demonstrated different tenets: the variety of history, the influence of diffusion, the symbolic and stylistic variation in art styles found among groups and sometimes within one group, and the role of imagination and creativity on the part of the artist. This volume presents Boas's most significant writings on art (dated 1889-1916), many originally published in obscure sources now difficult to locate. The original illustrations and an extensive, combined bibliography are included. Aldona Jonaitis's careful compilation of articles and the thorough historical and theoretical framework in which she casts them in her introductory and concluding essays make this volume a valuable reference for students of art history and Northwest anthropology, and a special delight for admirers of Boas.
Claude Levi-Strauss's fascination with Northwest Coast Indian art dates back to the late 1930s. "Sometime before the outbreak of the Second World War," he writes, "I had already bought in Paris a Haida slate panel pipe." In New York in the early forties, he shared his enthusiasm with a group of Surrealist refugee artists with whom he was associated. "Surely it will not be long," he wrote in an article published in 1943, "before we see the collections from this part of the world moved from ethnographic to fine arts museums to take their just place amidst the antiquities of Egypt of Persia and the works of medieval Europe. For this art is not unequal to the greatest, and, in the course of the century and a half of its history that is known to us, it has shown evidence of a superior diversity and has demonstrated apparently inexhaustible talents for renewal." In The Way of the Masks, first published more than thirty years later, he returned to this material, seeking to unravel a persistent problem that he associated with a particular mask, the Swaihwe, which is found among certain tribes of coastal British Columbia. This book, now available for the first time in an English translation, is a vivid, audacious illustration of Levi-Strauss's provocative structural approach to tribal art and culture. Bringing to bear on the Swaihwe masks his theory that mythical representations cannot be understood as isolated objects, Levi-Strausss began to look for links among them, as well as relationships between these and other types of masks and myths, treating them all as parts of a dialogue that has been going on for generations among neighboring tribes. The wider system that emerges form his investigation uncovers the association of the masks with Northwest coppers and with hereditary status and wealth, and takes the reader as far north as the Dene of Alaska, as far south as the Yurok of northern California, and as far away in time and space as medieval Europe. As one reader said of this book, "It will be controversial, as his work always is, and it will stimulate more scholarship on the Northwest Coast than any other single book that I can think of."
Since Columbus first called the natives of the Americas "Indians," the sources of their art and culture have been a puzzle. The strange mixture of objects of Asian appearance with those decidedly un-Asian has provided fuel for controversy between those who see the American cultures as products of diffusion and those who see them as independent inventions. Origins of Pre-Columbian Art cuts through this old dispute to provide a fresh look at ancient cultural history in the Americas and the Pacific basin.
Using evidence from archaeology, ethnology, and psychology, Terence Grieder suggests that contact between individuals across cultural borders is the root of both invention and diffusion. By tracing the spread of early symbolic techniques, materials, and designs from Europe and Asia to the lands of the Pacific and to the Americas, he displays the threads woven through humanity's common cultural heritage.
While archaeology provides examples of ancient symbols, ethnology reveals widely separated modern peoples still using these symbols and giving them similar meanings. Mapping these patterns of use and meaning, the author describes three waves of migration from Asia to the Americas, each carrying its own cluster of ideas and the symbols that expressed them.
First Wave cultures focused on their environment and on the human body, inventing symbols that compared people and nature. Second Wave symbolism emphasized the center and the periphery: the village and the horizon; the tree or pole as world axis; and the world's rim, where spirits exist. These cultures created masks to give form to those beings beyond the horizon. The heavens were finally incorporated into the system of symbols by Third Wave peoples, who named the celestial bodies as gods, treasured heaven-colored stones, and represented the world in pyramids.
Emphasizing the interpretation of art in its many forms, Grieder has found that such seemingly minor decorations as bark cloth clothing and tattoos have deep meaning. Ancient art, he argues, was the vehicle for ancient science, serving to express insights into biology, astronomy, and the natural world.
Northwest Coast peoples were maritime engineers who mastered the
art of building dugout canoes from gigantic red cedars, using only
tools made from bone, stone, and wood. Ubiquitous, these elegant
craft were used for everyday and ceremonial purposes, for fishing,
hunting and trading, for feasting and potlatching, and in
warfare--they were the keys that unlocked the treasure chest of the
Painstakingly constructed by hand of plant fiber and precious feathers from endemic birds of Hawai'i, feather cloaks and capes provided spiritual protection to Hawaiian chiefs for centuries while proclaiming their royal status. Few of the artworks known as n? hulu ali'i, or royal feathers, survive today except in museums and private collections. Through photographs and scholarly essays, Royal Hawaiian Featherwork highlights approximately seventy-five rare examples of the finest featherwork extant: capes and cloaks ('ahu'ula), royal staffs (k?hili), feather lei (lei hulu manu), helmets (mahiole), feathered god images (akua hulu manu), and related paintings and works on paper. With their brilliant coloring and abstract compositions of crescents, triangles, circles, quadrilaterals, and lines, the artworks are both beautiful and rich in cultural significance. This lavishly illustrated volume also serves as the catalogue to accompany the first exhibition of Hawaiian featherwork to be staged on the U.S. continent, scheduled for a six-month run starting in August 2015 at the Fine Arts Museums of San Francisco. The book and exhibition provide an overdue opportunity for the public to discover the central role these artworks played in the culture and history of the Hawaiian Islands, to explore their unparalleled technical craftsmanship, and to discover an aesthetic tradition unique to the Hawaiian archipelago.
The tipi is an iconic symbol of Native North American culture, recognized throughout the world. "Tipi: Heritage of the Great Plains" reveals the history and significance of this remarkable architectural form from the 1830s to the present. Ideally suited to a nomadic lifestyle on the Plains, the tipi was the heart of Plains social, religious, and creative traditions. Trade and innovation brought new materials and ways of living to Plains people. As the nomadic way of life gave way to more permanent settlements, the tipi evolved in form but remained central to Plains culture and identity.
The book examines the history and continuing tradition of the tipi by focusing on tribes from three geographical regions: the Blackfeet, Crow, Shoshone, and Northern Cheyenne in the north; the Arapaho and many Sioux groups, including Dakota, Yankton, Yanktonai, Lakota, Hunkpapa, and Oglala, in the Central Plains; and the Pawnee, Osage, Kiowa, Southern Cheyenne, Comanche, and Plains Apache in the south. Included are first-person narratives by Native people-elders, artists, military veterans, and an architect-that tell of the lasting cultural significance of the tipi within an ongoing process of cultural and artistic interpretation.
The volume is richly illustrated with historic and contemporary photographs and artwork. Art made by women, who were the tipi makers and owners, include furnishings, clothing, and accessories. Associated with tipi-centered family life, these objects feature intricate beadwork, quill embroidery, and painting. Other artwork relate to the male warrior tradition: tipi liners, traditionally painted by men with their war exploits, as well as other objects associated with warfare and warrior societies. Children's life in the tipi is illustrated by cradles, garments, toys, and games. Works by contemporary Native artists represent modern interpretations of traditional forms. Dispelling stereotypes of the tipi as a picturesque vestige of the past, "Tipi: Heritage of the Great Plains" demonstrates how the tipi remains a part of a living culture deeply rooted in tradition.
Nancy B. Rosoff is Andrew W. Mellon Curator of the Arts of the Americas and Susan Kennedy Zeller is associate curator of Native American art, both at the Brooklyn Museum. Other contributors include Heywood and Mary Lou Big Day (Crow), Christina E. Burke, Teri Greeves (Kiowa), Barbara A. Hail, Emma I. Hansen (Pawnee), Michael P. Jordan, Dixon Palmer (Kiowa), Lyndreth Palmer (Kiowa), Harvey Pratt (Southern Cheyenne/Arapaho), Bently Spang (Northern Cheyenne), Dennis Sun Rhodes (Arapaho), and Daniel C. Swan."
Following India's independence in 1947, Indian artists creating modern works of art sought to maintain a local idiom, an "Indianness" representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as both universal and presumptively Western. These artists depicted India's precolonial past while embracing aspects of modernism's pursuit of the new, and they challenged the West's dismissal of non-Western places and cultures as sources of primitivist imagery but not of modernist artworks. In "Art for a Modern India," Rebecca M. Brown explores the emergence of a self-conscious Indian modernism--in painting, drawing, sculpture, architecture, film, and photography--in the years between independence and 1980, by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism.
Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of "authentic India" in his acclaimed "Apu Trilogy," how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India's past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India's modern visual culture.
The nation's premier private collection of Rookwood art pottery
featuring American Indian portraiture is on display at the
Cincinnati Art Museum from October 2007 to January 2008. "Rookwood
and the American Indian: Masterpieces of American Art Pottery from
the James J. Gardner Collection" is a remarkable exhibition
catalogue that will be of interest well beyond the exhibition
because of its unique subject matter. Fifty-two pieces produced by
the Rookwood Pottery Company are showcased, many accompanied by
black-and-white photographs of the American Indians portrayed by
the ceramic artist. In addition, the catalogue includes a brief
biography of each artist as well as curators' comments about the
Rookwood pottery and the Indian apparel seen in the portraits.
Aboriginal art has survived the colonial period to become a major feature of contemporary Australian society. This book surveys the great variety in Aboriginal art, from ancient rock paintings to powerful modern works in acrylic on canvas. The patterns and symbols of Aboriginal art, though they may at first appear abstract, are laden with meaning. Morphy explains the social contexts in which art is made and its religious significance.
Essays on recent developments and recent discoveries in Rock Art research around the world, based on the proceedings of the 1995 Rock Art conference held in Italy. This is the third in the five-yearly surveys of what is happening in rock art studies around the world, which builds upon the exciting contributions made in the first two volumes of this series. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions. The volume presents examples from Europe, Asia, Africa and the New Wrld. During the period in question, 2000 to 2004, there have been few major events, although in the field of Pleistocene art many new discoveries have been made, and new country added to the select list of those with Ice Age cave art. Some regions such as North Africa and the former USSR have seen a tremendous amount of activity, focusing not only on recording but also on chronology, and the accesible to the public is a theme of ever-growing importance, with some significant and interesting research undertaken on the impacts of visitors and how to measure and monitor those impacts. The research described in this book contributes to our ever increasing knowledge of this fascinating component of the human past.
The tragic death of Wilson Duff at the age of 51, cut short the life of one of the leading experts on the arts and cultures of native peoples of the Northwest Coast. An anthropology professor at the University of B.C., his death, by his own hand, terminated his uncommonly perceptive research into the philosophy and psychology of Native art. Bird of Paradox consists of unpublished works by Duff which present his unique theoretical ideas that contribute to art scholarship, as well as creative writings and poetry which expose his emotional experiences with and feelings toward Native art and culture. Editor E. N. Anderson has provided detailed introductory material recounting Duff's life and work, and puts Duff's final contributions in the context of Northwest coast life.
In Art to Come Terry Smith-who is widely recognized as one of the world's leading historians and theorists of contemporary art-traces the emergence of contemporary art and further develops his concept of contemporaneity. Smith shows that embracing contemporaneity as both a historical concept and a condition of the globalized world allows us to grasp how contemporary art exists in a fluid space of increasing interdependencies, multiple contemporaneous modernities, and persistent inequalities. Throughout these essays, Smith offers systematic proposals for writing contemporary art's histories while assessing how curators, critics, philosophers, artists, and art historians are currently doing so. Among other topics, Smith examines the intersection of architecture with other visual arts, Chinese art since the Cultural Revolution, how philosophers are theorizing concepts associated with the contemporary, Australian Indigenous art, and the current state of art history. Art to Come will be essential reading for artists, art students, curators, gallery workers, historians, critics, and theorists.
Kramer sets out to show that African images of Europeans-in sculpture, masquerades and above all spirit possession-are the reverse and also the counterpart of European images of the Other as savage, whether noble or ignoble. In ways which may echo 19th-century European realism, they reveal the power of the detail: a feather, a car, or the eponymous red fez which runs like a leitmotif through spirit possession cults of the early colonial period. The Red Fez demonstrates not only the startling likenesses to ourselves and our culture, but also reflections of forms of knowledge which this civilization has submerged.
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