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In this work, Blocker extends the philosophy of art to traditional African, Pre-Columbian Meso-American, and other works of "primitive art". Contents: Is Primitive Art Primitive? Is Primitive Art Art? Aesthetic Consciousness in Primitive Art; Critical Assessment of Primitive Art.
Boas' definitive study analyzes the fundamental traits of primitive art, examining the symbolism and style of objects as well as that of literature, music, and dance. It features more than 300 photographs, drawings, and diagrams of totem poles, baskets, masks, and other decorated items created by Native Americans of the Northwest Coast.
In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of "primitive art," bringing about a second "death." Errington argues that the construction of the primitive in the nineteenth and twentieth centuries (and the kinds of objects...
"Brings together the many insights of cultural anthropologists and art historians, treating art as both a visual and a cultural phenomenon"--
What is so primitive about primitive art? And how do we dare to use our standards to judge? Drawing on a mixture of sources, this text explores the cultural arrogance implicit in Westerners' appropriation of non-Western art.
Return to the elemental - Search for the primitive - Abstraction and empathy - Picasso and Negro Art - Matisse or Vlaminck - Problems of form - Exchange of techniques - Exotic attraction of distant lands - Primitive art and German Expressionism - Surrealism and the art of the South Sea Islands.
Based on a conference held at Burg Wartenstein from 27 June to 5 July 1967.
In 1990 Jacques Chirac, the future president of France and a passionate fan of non-European art, met Jacques Kerchache, a maverick art collector with the lifelong ambition of displaying African sculpture in the holy temple of French culture, the Louvre. Together they began laying plans, and ten years later African fetishes were on view under the same roof as the Mona Lisa. Then, in 2006, amidst a maelstrom of controversy and hype, Chirac presided over the opening of a new museum dedicated to primitive art in the shadow of the Eiffel Tower: the Musée du Quai Branly. Paris Primitive recounts the massive reconfiguration of Paris’s museum world that resulted from Chirac’s dream, set against...