Anthropology in Austria has come a long way, in terms of achieving diversity, growth and international visibility, since first emerging in Vienna, the capital of the former Habsburg Empire, and now of one of its main successor countries. This volume combines elements of critical self-reflection about that academic past with confidence in the intellectual currents presently in motion across the discipline. As with the country’s contributions to world literature and music, the trajectory of social-cultural anthropology may be seen as a good example of the global relevance of research in Austria within the humanities and social sciences. This ‘anthropology in motion’ situates itself at the intersections between contemporary and historical research, but also often between the natural and the social sciences. It shows a commitment to conceptual and theoretical pluralism, but, equally importantly, a dedication to the maintenance and improvement of standards of methodological quality. Whether empirical research is focused on studies at home or abroad, the blending of renewed forms of ethnographic fieldwork with solid comparative analyses and archival research characterizes many of these ongoing advances.

The longing for authenticity, on an individual or collective level, connects the search for external expressions to internal orientations. What is largely referred to as production of authenticity is a reformulation of cultural values and norms within the ongoing process of modernity, impacted by globalization and contemporary transnational cultural flows. This collection interrogates the notion of authenticity from an anthropological point of view and considers authenticity in terms of how meaning is produced in and through discourses about authenticity. Incorporating case studies from four continents, the topics reach from art and colonialism to exoticism-primitivism, film, ritual and wilderness. Some contributors emphasise the dichotomy between the academic use of the term and the one deployed in public spaces and political projects. All, however, consider authenticity as something that can only be understood ethnographically, and not as a simple characteristic or category used to distinguish some behaviors, experiences or material things from other less authentic versions.

What can an art biennale in Dakar, Senegal, tell us about current discourses surrounding the place of art in the world, and in the academic study of anthropology? This volume investigates the Dak'Art biennale, ranked among the world's top 20 biennials, drawing upon fieldwork, archival research, and the experiences of those involved. In so doing, the chapters make a statement about the impact of globally-acting art biennials, contributing to current scholarship both on biennales and the anthropology of art scene more widely. Part I opens with the history of its foundation and considers it in conjunction with the rise of contemporary art in Senegal. Part II deals with the biennale's various objectives, selection strategies, exhibition spaces, platforms for debate, and discourses between the State, the secretariat and local artists and art world professionals. Part III examines the cyclical creation of contemporary African art, and questions if the Biennial creates local canonical practices. The Epilogue uses the Dak'art biennale to question assumptions around practice in general biennale scholarship and work. Featuring a dialogic structure between practitioners of art and anthropologists, this unique volume will be of interest to students of anthropology, art history and practice, African studies and curatorial practice.

The longing for authenticity, on an individual or collective level, connects the search for external expressions to internal orientations. What is largely referred to as production of authenticity is a reformulation of cultural values and norms within the ongoing process of modernity, impacted by globalization and contemporary transnational cultural flows. This collection interrogates the notion of authenticity from an anthropological point of view and considers authenticity in terms of how meaning is produced in and through discourses about authenticity. Incorporating case studies from four continents, the topics reach from art and colonialism to exoticism-primitivism, film, ritual and wilderness. Some contributors emphasise the dichotomy between the academic use of the term and the one deployed in public spaces and political projects. All, however, consider authenticity as something that can only be understood ethnographically, and not as a simple characteristic or category used to distinguish some behaviors, experiences or material things from other less authentic versions.

Drawing on the exciting developments that have occurred in the anthropology of art over the last twenty years, this study uses ethnographic methods to explore shifts in the art market and global contemporary art. Recognizing that the huge diversity of global phenomena requires research on the ground, An Anthropology of Contemporary Art examines the local art markets, biennials, networks of collectors, curators, artists, patrons, auction houses, and museums that constitute the global art world.Divided into four parts - Picture and Medium; World Art Studies and Global Art; Art Markets, Maecenas and Collectors; Participatory Art and Collaboration - chapters go beyond the standard emphasis on Europe and North America to present first-hand fieldwork from a wide range of areas, including Brazil, Turkey, and Asia and the Pacific.With contributions from distinguished anthropologists such as Philippe Descola and Roger Sansi Roca, this book provides a fresh approach to key topics in the discipline. A model for demonstrating how contemporary art can be studied ethnographically, this is a vital read for students in anthropology of art, visual anthropology, visual culture, and related fields.

Drawing on the exciting developments that have occurred in the anthropology of art over the last twenty years, this study uses ethnographic methods to explore shifts in the art market and global contemporary art. Recognizing that the huge diversity of global phenomena requires research on the ground, An Anthropology of Contemporary Art examines the local art markets, biennials, networks of collectors, curators, artists, patrons, auction houses, and museums that constitute the global art world.Divided into four parts - Picture and Medium; World Art Studies and Global Art; Art Markets, Maecenas and Collectors; Participatory Art and Collaboration - chapters go beyond the standard emphasis on Europe and North America to present first-hand fieldwork from a wide range of areas, including Brazil, Turkey, and Asia and the Pacific.With contributions from distinguished anthropologists such as Philippe Descola and Roger Sansi Roca, this book provides a fresh approach to key topics in the discipline. A model for demonstrating how contemporary art can be studied ethnographically, this is a vital read for students in anthropology of art, visual anthropology, visual culture, and related fields.

What can an art biennale in Dakar, Senegal, tell us about current discourses surrounding the place of art in the world, and in the academic study of anthropology? This volume investigates the Dak'Art biennale, ranked among the world's top 20 biennials, drawing upon fieldwork, archival research, and the experiences of those involved. In so doing, the chapters make a statement about the impact of globally-acting art biennials, contributing to current scholarship both on biennales and the anthropology of art scene more widely. Part I opens with the history of its foundation and considers it in conjunction with the rise of contemporary art in Senegal. Part II deals with the biennale's various objectives, selection strategies, exhibition spaces, platforms for debate, and discourses between the State, the secretariat and local artists and art world professionals. Part III examines the cyclical creation of contemporary African art, and questions if the Biennial creates local canonical practices. The Epilogue uses the Dak'art biennale to question assumptions around practice in general biennale scholarship and work. Featuring a dialogic structure between practitioners of art and anthropologists, this unique volume will be of interest to students of anthropology, art history and practice, African studies and curatorial practice.