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 Exploring World Art
Eric Venbrux, Pamela Sheffield Rosi, and Robert L. Welsch
The contemporary visual arts of non-Western peoples are
increasingly part of a capitalistic, global art world with diverse gatekeepers,
tastes, venues, individuation of artists, and hybrid sources of inspiration. In
this collection, ethnographic case studies from around the globe are used to
examine the contemporary art world, from both local and comparative global
perspectives, and span such critical topics concerning visual culture as
artistic agency, new art forms and media, arenas of cultural production, and the
role of gender in these innovative traditions. What new parameters comprise world art? Each of the articles speaks to this theme. They suggest that the intercultural traffic in art has reshaped how indigenous identities—an integral part of cultural production—are formed. The cases illuminate what is actually going on in the production of art and sale of art around the globe. Since anthropologists and art historians have moved away from the study of “primitive” art in a single tribal society, blurring the cultural distinctions of Western and non-Western art, each article highlights a different aspect of the new international processes that give meaning to artworks made in one social context but sold to people in another.
10-digit ISBN: 1-57766-405-1 13-digit ISBN: 978-1-57766-405-5 © 2006 Table of Contents
1. Exploring World Art: An Introduction (Robert L. Welsch, Eric Venbrux, and Pamela Sheffield Rosi) Section I. THEORETICAL ORIENTATIONS TO THE SUBJECT OF WORLD ART 2. Gauguin, Negrín, and the Art of Anthropology: Reflections on the Construction of Art Worlds in a Costa Ricans Port City (Russell Leigh Sharman) 3. Anthropologies of Art: Three Approaches (Wilfried van Damme) Section II. TRADITIONAL AND MODERN PATHWAYS FOR CONTEMPORARY AFRICAN ART 4. Circuits of African Art/Paths of Wood: Exploring an Anthropological Trail (Paul Stoller) 5. Tourism, Aesthetics, and Global Flows along the Swahili Coast (Sidney L. Kasfir) Section III. CREATING NEW TRADITIONS IN CONTEMPORARY ART 6. “Frame That Rug!”: Narratives of Zapotec Textiles as Art and Ethnic Commodity in the Global Marketplace (Sharon W. Tiffany) 7. Contending Indian Art-Worlds: Patta Chitra Paintings in Orissa (Helle Bundgaard) Section IV. ENGAGING TRADITION IN CONTEMPORARY ABORIGINAL ART 8. The Unsettled Business of Tradition, Indigenous Being, and Acrylic Painting (Fred R. Myers) 9. The Postcolonial Virtue of Aboriginal Art from Bathurst and Melville Islands (Eric Venbrux) Section V. MOVING AWAY FROM TRADITION IN CONTEMPORARY PAPUA NEW GUINEA ART 10. Gender, Location, and Tradition: A Comparison of Two Papua New Guinean Contemporary Artists (Jacquelyn A. Lewis-Harris) 11. The Disputed Value of Contemporary Papua New Guinea Artists and Their Work (Pamela Sheffield Rosi) 12. High Art as Tourist Art, Tourist Art as High Art: Comparing the New Guinea Sculpture Garden at Stanford University and Sepik River Tourist Art (Eric K. Silverman) Section VI. NEW USES FOR NATIVE AMERICAN ART 13. “Do We Still Have No Word for Art?”: A Contemporary Mohawk Question (Morgan Perkins) 14. Commodities of Authenticity: When Native People Consume Their Own “Tourist Art” (Alexis Bunten) Section VII. CURATORIAL AUTHORITY 15. Living with the Ancestors in an International Contemporary Art World (Nick Stanley) 16. Curatorial Authority and Postmodern Representations of African Art (Carol Hermer) 17. Native American Art in a Global Context: Politicization as a Form of Aesthetic Response (Nancy Marie Mithlo) 18. The Authenticity of Contemporary World Art: Afterword (Robert L. Welsch)
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