Possessions : indigenous art/colonial culture

by Nicholas Thomas

Paper Book, 1999

Status

Available

Call number

303.482

Publication

New York, N.Y. : Thames and Hudson, 1999.(304p.,177 b/w ill., notes, index, 24cm.).

Description

"Tribal art has been one of the great inspirations of 20th-century Western art. Europeans such as Picasso, Matisse, Ernst and Brancusi created their own responses to masks, sculpture and other forms of African, Oceanic and American art. But is this a cross-cultural discovery to be celebrated, or just one more example of Western colonial appropriation? This work seeks to prove that both viewpoints are too simplistic. It focuses on the distinctive situation of the settler society - countries such as Australia and New Zealand in which large numbers of Europeans made their home, displacing but never entirely eclipsing native peoples. Settler artists and designers have drawn on indigenous motifs and styles to create art. Yet powerful indigenous art traditions have also been used to assert the presence of native peoples and their prior claim to sovereignty. Cultural exchange proves to be a two-way process, and an unpredictable one: much contemporary indigenous art draws on modern Western art, while affirming ancestral values and rejecting the European appropriation of tribal culture."--Amazon.… (more)

Language

Physical description

304 p.; 24 cm

ISBN

9780500280973

Local notes

Summary:
"Tribal art has been one of the great inspirations of 20th-century Western art. Europeans such as Picasso, Matisse, Ernst and Brancusi created their own responses to masks, sculpture and other forms of African, Oceanic and American art. But is this a cross-cultural discovery to be celebrated, or just one more example of Western colonial appropriation? This work seeks to prove that both viewpoints are too simplistic.

Contents
Chapter One 6 Beginnings
Chapter Two 50 Landscapes: Possession and Dispossession
Chapter Three 94 Objects: Indigenous Signs in Colonial Design
Chapter Four 126 Artworks: Indigenous Signs in Colonial Art Chapter Five 164 Presences: Indigenous Landscapes, Artworks and Exhibitions
Chapter Six 196 Hierarchies: From Traditional to Contemporary
Chapter Seven 224 Situations: Indigenous Art in Public Culture
Chapter Eight 258 Identities: Diasporas, Nations and Transactions
Chapter Nine 277 Endings
Notes and Sources 282
List of Illustrations 293
Acknowledgments 299
Index 300
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