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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.
Papunya: A Place Made After the Story is a first-hand account of the Papunya Tula artists and their internationally significant works emanating from the central Western Desert. This momentous movement began in 1971 when Geoffrey Bardon, a hopeful young art teacher, drove the long lonely road from Alice Springs to the settlement at Papunya in the Northern Territory. He left only eighteen months later, defeated by hostile white authority, but a lasting legacy was the emergence of the Western Desert painting style. It started as an exercise to encourage local children to record their sand patterns and games, and grew to include tribal men and elders painting depictions of their ceremonial lives onto scraps of discarded building materials. With Bardon's support, they preserved their traditional Dreamings and stories in paint. The artistic energy unleashed at Papunya spread through Central Australia to achieve international acclaim. These works are now regarded as some of Australia's most treasured cultural, historical and artistic items. The publication of this material is an unprecedented achievement. Bardon's exquisitely recorded notes and drawings reproduced here document the early stages in this important art group. This landmark book features more than five hundred paintings, drawings and photographs from Bardon's personal archive. It tells the story of the catalyst for a powerfully modern expression of an ancient indigenous way of seeing the world.
First Nation's artist Robert E Stanley Sr shares his knowledge and technique in rendering classic Northwest Native drawings. Now you too, can learn to draw some of the legendary animals of the First Nation's tribes, by learning Robert's technique's passed down to him from generation to generation.
Recent decades have seen an upsurge in visitation to rock art sites as well as an increase in commercial reproduction of rock art and attempts to understand the meaning and function of that art within the indigenous cultures that produced it. What motivates this growing interest and what do these interpretations and appropriations of Native American petroglyphs and pictographs reveal about contemporary cultural dynamics? Focusing on the southwestern U.S., this book critically examines the contemporary implications of the interpretation, appropriation, commodification, and management of indigenous rock art. Neither archaeological interpretations nor commercial reproductions of rock art operate in a cultural vacuum. Both the motivation to seek out rock art and the specific meanings attached to it are deeply embedded in narratives about Native Americans already created by anthropologists, archaeologists, photographers, novelists, film and television producers, the tourism industry, and New Age discourse. For those interested in rock art as a window into indigenous cultures of the past, our contemporary projections of meanings are of great concern. Applying the tools of critical/cultural studies to both academic and popular discourse, Rogers explores the implications of such projections for rock art studies, contemporary gender dynamics, and the neocolonial relationship between Euro-Americans and Native Americans.
Large, bold and colourful, Indigenous Australian art has made an indelible impression on the contemporary imagination. But it is controversial, dividing the stakeholders from those who smell a scam. Whether the artists are victims or victors, there is no denying their impact in the media and on the art world and collectors worldwide. How did Australian art become the most successful indigenous form in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art world to which they had previously been denied access? Finely illustrated, and now available in paperback, this full historical account makes you question everything you were taught about contemporary art.
More than 130 works from the collection assembled by Drs Nicole and John Dintenfass over fifty years. The Dintenfass Collection serves as a model and a source of inspiration for new and seasoned collectors alike. A different slant on collecting which is not actually just buying from dealers. A lavishly illustrated book that traces the origin of a collector's interest in African art and analyses the psychological aspects driving the passions for collecting. The Nicole and John Dintenfass Collection is well known and based on aesthetics, and the works have been reproduced in many publications. They have collected with passion, diligence, depth and rigor monumental sculptures and wooden miniatures, from most regions of Africa. Focusing on pieces of the highest artistic quality, this book shares the collectors' personal point of view about collecting and offers to readers anecdotes that provide an additional insight into this world to future and present collectors in their search for African art. Collecting is a passion that often leads to intimate inner conversations or to emotional experiences with the objects themselves. Moreover many collectors share their unique experience of joy and appreciation with twentieth-century artists who also collected African art and who generously imparted advice, suggestions and support in responding to the collectors' enthusiasm. Thanks to the multiple beautiful and sensitive photographs of each object, the viewer has a chance to form an intimate conversation that creates a connection with those African master carvers that have strongly influenced modern realism, cubism and expressionism.
The art of sub-Saharan Africa reveals the marvelous achievements of tribal artists--their names unknown--over thousands of years. Their aesthetic ideal finds form in wood, bone, fabric, bronze and iron. This illustrated study of traditional African art includes pieces from Western Sudan, the Congolese Basin, the Guinea coast, Gabon, Democratic Republic of Congo and East and South Africa. Each piece is characterized by its own traditions and artistic forms. The earliest pieces date from the beginning of the first millennium, the most recent form the early 20th century. Unique and rare examples are documented, many virtually unknown.
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