1932
0
  1. Home
  2. A-Z Publications
  3. Annual Review of Anthropology
  4. Volume 48, 2019
  5. Article

Annual Review of Anthropology

Volume 48, 2019

The Anthropology of Art, After the End of Art: Contesting the Art-Culture System

Abstract

We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition , the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

Keyword(s): art theory, art worlds, circulation, critical practice, entanglement, ethnoaesthetics
Loading

Article metrics loading...

/content/journals/10.1146/annurev-anthro-102218-011331
2019-10-21
2024-07-03
Loading full text...

Full text loading...

/deliver/fulltext/anthro/48/1/annurev-anthro-102218-011331.html?itemId=/content/journals/10.1146/annurev-anthro-102218-011331&mimeType=html&fmt=ahah

Literature Cited

  1. Appadurai A. 1986. Introduction: commodities and the politics of value. The Social Life of Things: Commodities in Cultural Perspective A Appadurai 3–63 Cambridge, UK: Cambridge Univ. Press
     [Google Scholar]
  2. Apter E, Pietz W. 1993. Fetishism as Cultural Discourse Ithaca, NY: Cornell Univ. Press
     [Google Scholar]
  3. Babcock B. 1995. Marketing Maria: the tribal artist in the age of mechanical reproduction. See Bright & Bakewell 1995 124–50
  4. Bakewell L. 1995. Bellas artes and artes populares: the implications of difference in the Mexico City artworld. See Bright & Bakewell 1995 19–54
  5. Bakke G, Peterson M 2018. Between Method and Matter: Encounters in Anthropology and Art London: Bloomsbury
     [Google Scholar]
  6. Banks M, Morphy H 1997. Rethinking Visual Anthropology New Haven, CT: Yale Univ. Press
     [Google Scholar]
  7. Barad K. 2007. Meeting the Universe Halfway: Quantum Mechanics and the Entanglement of Matter Durham, NC: Duke Univ. Press
     [Google Scholar]
  8. Basu P, MacDonald S. 2007. Introduction: experiments in exhibition, ethnography, art, and science. Exhibition Experiments P Basu, S MacDonald 1–24 Oxford: Blackwell
     [Google Scholar]
  9. Bateson G. 1968. Style, grace and information in ‘primitive’ art. Steps to an Ecology of Mind128–56 New York: Ballantine Books
     [Google Scholar]
  10. Battaglia D. 1997. Displacing the visual: of Trobriand axe blades and ambiguity in cultural practice. See Banks & Morphy 1997 203–15
  11. Becker HS. 1982. Art Worlds Berkeley: Univ. Calif. Press
     [Google Scholar]
  12. Bell R. 2002. Bell's Theorem. Aboriginal art—it's a white thing!. Koori History Website http://www.kooriweb.org/foley/resources/art/bellessay.html
    [Google Scholar]
  13. Berger J. 1973. Ways of Seeing London: Penguin
     [Google Scholar]
  14. Biddle J. 2007. Breasts, Bodies, Canvas: Central Desert Art as Experience Sydney: Univ. NSW Press
     [Google Scholar]
  15. Biddle JL. 2016. Remote Avant-Garde: Aboriginal Art Under Occupation Durham, NC: Duke Univ. Press
     [Google Scholar]
  16. Bishop C. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship New York: Verso
     [Google Scholar]
  17. Boas F. 1908. Decorative designs of Alaskan needlecases: a study of conventional designs. Proc. US Natl. Mus. 34:1616321–41
     [Google Scholar]
  18. Boas F. 1955 (1927). Primitive Art New York: Dover
     [Google Scholar]
  19. Borea G. 2016. Fuelling museum and art fairs in Peru's capital: the work of the market and multi-scale assemblages. World Art 6:315–37
     [Google Scholar]
  20. Bourdieu P. 1984. Distinction: A Social Critique of the Judgment of Taste, transl. R Nice Cambridge, MA: Harvard Univ. Press
     [Google Scholar]
  21. Bourdieu P. 1993. The Field of Cultural Production: Essays on Art and Literature New York: Columbia Univ. Press
     [Google Scholar]
  22. Bourriaud N. 2002. Relational Aesthetics transl. S Pleasance, F Wood Dijon, Fr.: Press. Réel
     [Google Scholar]
  23. Bray Z. 2018. Ethnographic portrait-painting today: opening up the process at NYC's American Natural History Museum. Vis. Ethnog. 7:1 http://dx.doi.org/10.12835/ve2018.1-0100
    [Crossref] [Google Scholar]
  24. Bright BJ, Bakewell E 1995. Looking High and Low: Art and Cultural Identity Tucson: Univ. Ariz. Press
     [Google Scholar]
  25. Brodine M, Campbell C, Hennessy K, McDonald FP, Smith TL, Takaragawa S 2011. Ethnographic terminalia: an introduction. Vis. Anthropol. Rev. 27:49–51
     [Google Scholar]
  26. Chakrabarty D. 2000. Provincializing Europe: Postcolonial Thought and Historical Difference Princeton, NJ: Princeton Univ. Press
     [Google Scholar]
  27. Cheetham MA. 2018. Landscape into Eco Art: Articulations of Nature Since the ‘60s University Park: Pa. State Univ. Press
     [Google Scholar]
  28. Chin E. 2016. My Life with Things: The Consumer Diaries Durham, NC: Duke Univ. Press
     [Google Scholar]
  29. Chumley L. 2016. Creativity Class: Art School and Culture Work in Postsocialist China Princeton, NJ: Princeton Univ. Press
     [Google Scholar]
  30. Chumley LH. 2013. Evaluation regimes and the qualia of quality. Anthropol. Theory 13:169–83
     [Google Scholar]
  31. Clarke AJ 2011. Design Anthropology: Object Culture in the 21st Century New York: Springer
     [Google Scholar]
  32. Clifford J. 1981. On ethnographic surrealism. Comp. Stud. Soc. Hist. 23:4539–64
     [Google Scholar]
  33. Clifford J. 1985. Histories of the tribal and the modern. Art Am 1985:April161–77
     [Google Scholar]
  34. Clifford J. 1988a. On collecting art and culture. See Clifford 1988b 215–51
  35. Clifford J. 1988b. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art Cambridge, MA: Harvard Univ. Press
     [Google Scholar]
  36. Clifford J. 1991. Four Northwest Coast museums: travel reflections. See Karp & Lavine 1991 212–54
  37. Clifford J. 1997. Routes: Travel and Translation in the Late Twentieth Century Cambridge, MA: Harvard Univ. Press
     [Google Scholar]
  38. Clifford J. 2013. Returns: Becoming Indigenous in the Twenty-First Century Cambridge, MA: Harvard Univ. Press
     [Google Scholar]
  39. Comaroff J, Comaroff JL. 2012. Theory from the South; or, how Euro-America is evolving toward Africa. Anthropol. Forum 22:113–31
     [Google Scholar]
  40. Coote J, Shelton A 1994. Anthropology, Art and Aesthetics Oxford, UK: Clarendon
     [Google Scholar]
  41. Crehan K. 2011. Community Art: An Anthropological Perspective Oxford, UK: Berg
     [Google Scholar]
  42. Danto A. 1964. The artworld. J. Philos. 61:19571–84
     [Google Scholar]
  43. Danto AC. 1981. The Transfiguration of the Commonplace: A Philosophy of Art Cambridge, MA: Harvard Univ. Press
     [Google Scholar]
  44. Danto AC. 1986. The Philosophical Disenfranchisement of Art New York: Columbia Univ. Press
     [Google Scholar]
  45. Danto AC 1988. Art/Artifact: African Art in Anthropology Collections New York: Prestel
     [Google Scholar]
  46. Danto AC. 1997. After the End of Art: Contemporary Art and the Pale of History Princeton, NJ: Princeton Univ. Press
     [Google Scholar]
  47. Dávila A. 2000. Culture in the battleground: from nationalist to Pan-Latino projects. Mus. Anthropol. 23:26–41
     [Google Scholar]
  48. Dávila A. 2012. Culture Works: Space, Value and Mobility Across the Neoliberal Americas New York: NYU Press
     [Google Scholar]
  49. Deger J. 2006. Shimmering Screens: Making Media in an Aboriginal Community Minneapolis: Univ. Minn. Press
     [Google Scholar]
  50. Deger J. 2013. The jolt of the new: making video art in Arnhem Land. Cult. Theory Crit. 54:355–71
     [Google Scholar]
  51. Demos TJ. 2017. Against the Anthropocene: Visual Culture and Environment Today Berlin/New York:
     [Google Scholar]
  52. Douglas FH, D'Harnoncourt R. 1941. Indian Art of the United States New York: Arno Press, Mus. Mod. Art
     [Google Scholar]
  53. Dubin M. 2001. Native America Collected: The Culture of an Art World Albuquerque: Univ. N. M. Press
     [Google Scholar]
  54. Dussart F. 1997. A body painting in translation. See Banks & Morphy 1997 186–202
  55. Dussart F. 2006. Canvassing identities: reflecting on the acrylic art movement in an Australian Aboriginal settlement. Aborig. Hist. 30:156–68
     [Google Scholar]
  56. Eagleton T. 1991. The Ideology of the Aesthetic London: Blackwell
     [Google Scholar]
  57. Eck D. 1985. Darśan: Seeing the Divine Image in India Chambersburg, PA: Anima Books
     [Google Scholar]
  58. Errington S. 1998. The Death of Authentic Primitive Art and other Tales of Progress Berkeley: Univ. Calif. Press
     [Google Scholar]
  59. Errington S. 2012. Ethnographic Terminalia: 2009-10-11. Am. Anthropol. 114:3528–42
     [Google Scholar]
  60. Fabian J. 1983. Time and the Other: How Anthropology Makes Its Object New York: Columbia Univ. Press
     [Google Scholar]
  61. Filletz T, Van der Grijp P 2018. An Anthropology of Contemporary Art: Practices, Markets, and Collectors London: Bloomsbury
     [Google Scholar]
  62. Firth R. 1994. Art and anthropology. See Coote & Shelton 1994 15–39
  63. Fisher L. 2012. The art/ethnography binary: post-colonial tensions within the field of Australian Aboriginal art. Cult. Soc. 6:2251–70
     [Google Scholar]
  64. Fisher L. 2015. Aboriginal Art and Society: Hope and Disenchantment London: Anthem
     [Google Scholar]
  65. Foster H. 1995. The artist as ethnographer?. See Marcus & Myers 1995 302–9
  66. Freedberg D. 1991. The Power of Images: Studies in the History and Theory of Response Chicago: Univ. Chicago Press
     [Google Scholar]
  67. Gan E, Tsing A 2012. A fungal clock: experiments in representing time Presented at the 110th Annual Meeting of the American Anthropology Association, San Francisco, Nov. 18. http://elainegan.com/fungalClock.html
    [Google Scholar]
  68. Garneau D. 2018. Electric beads: on indigenous digital formalism. Vis. Anthropol. Rev. 34:177–86
     [Google Scholar]
  69. Geismar H. 2013a. The art of anthropology: questioning contemporary art in ethnographic display. The International Handbooks of Museum Studies, Vol. 1: Museum Theory K Message, A Witcomb 184–210 Boston: Wiley
     [Google Scholar]
  70. Geismar H. 2013b. Treasured Possessions: Indigenous Interventions into Cultural and Intellectual Property Durham, NC: Duke Univ. Press
     [Google Scholar]
  71. Gell A. 1994. The technology of enchantment and the enchantment of technology. See Coote & Shelton 1994 40–63
  72. Gell A. 1996. Vogel's net: traps as artworks and artworks as traps. J. Mater. Cult. 1:15–38
     [Google Scholar]
  73. Gell A. 1998. Art and Agency: An Anthropological Theory Oxford, UK: Oxford Univ. Press
     [Google Scholar]
  74. George KM. 2010. Picturing Islam: Art and Ethics in a Muslim Art World Malden, MA: Wiley Blackwell
     [Google Scholar]
  75. Ginsburg F. 1994. Embedded aesthetics: creating a discursive space for Indigenous media. Cult. Anthropol. 9:365–82
     [Google Scholar]
  76. Glass A. 2004. Return to sender: on the politics of cultural property and the proper address of art. J. Mater. Cult. 9:2115–39
     [Google Scholar]
  77. Glass A 2011. Objects of Exchange: Social and Material Transformation on the Late Nineteenth-Century Northwest Coast New York: Bard Grad. Cent., Yale Univ. Press
     [Google Scholar]
  78. Graburn NHH. 2004. Authentic Inuit art: creation and inclusion in the Canadian North. J. Mater. Cult. 9:2141–59
     [Google Scholar]
  79. Greenberg C. 1961. Art and Culture: Critical Essays New York: Beacon
     [Google Scholar]
  80. Grimshaw A, Ravetz A. 2015. The ethnographic turn—and after: a critical approach towards the realignment of art and anthropology. Soc. Anthropol. 23:4418–34
     [Google Scholar]
  81. Guilbaut S. 1983. How New York Stole the Idea of Modern Art transl. A Goldhammer Chicago/London: Univ. Chicago Press
     [Google Scholar]
  82. Hadjinicolaou N. 1978. Art History and Class Struggle New York: Pluto
     [Google Scholar]
  83. Haraway D. 2017. Symbiogenesis, sympoesis, and art science activisms for staying with the trouble. Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene A Tsing, HA Swanson, E Gan, N Bubandt 25–50 Minneapolis: Univ. Minn. Press
     [Google Scholar]
  84. Haraway DJ. 2016. Staying with the Trouble: Making Kin in the Chtulucene Durham, NC: Duke Univ. Press
     [Google Scholar]
  85. Harney E. 2004. In Senghor's Shadow: Art, Politics and the Avant-Garde in Senegal 1960–1995 Durham, NC: Duke Univ. Press
     [Google Scholar]
  86. Heinich N. 2017. What art did to modernity. Rev. Int. Philos. 3:281299–309
     [Google Scholar]
  87. Helmreich S, Jones C. 2018. Science/art/culture through an oceanic lens. Annu. Rev. Anthropol. 47:97–115
     [Google Scholar]
  88. Henare A, Holbraad M, Wastell A 2007. Introduction: thinking through things. Thinking Through Things: Theorising Artefacts Ethnographically A Henare, M Holbraad, S Wastell 1–31 London: Routledge
     [Google Scholar]
  89. Hill RW. 2016. Was indigenous art better in the 1980s and early ‘90s. Canadian Art March 21. https://canadianart.ca/essays/was-indigenous-art-better-in-the-1980s-and-early-90s/
    [Google Scholar]
  90. Hopkins C. 2017. The appropriation debates. MOUSSE Magazine 60: http://moussemagazine.it/candice-hopkins-the-appropriation-debates-2017/
    [Google Scholar]
  91. Horton JL. 2017. Art for an Undivided Earth: The American Indian Movement Generation Durham, NC: Duke Univ. Press
     [Google Scholar]
  92. Hutchinson E. 2009. The Indian Craze: Primitivism, Modernism and Transculturation in American Art1890–1915 Durham, NC: Duke Univ. Press
     [Google Scholar]
  93. Igloliorte H, Taunton C. 2017. Introduction: continuities between eras: indigenous art histories. RACAR 42:5–12
     [Google Scholar]
  94. Ingold T. 2013. Making: Anthropology, Archaeology, Art, and Architecture London: Routledge
     [Google Scholar]
  95. Jackson MD. 2016. The Work of Art: Rethinking the Elementary Forms of Religious Life New York: Columbia Univ. Press
     [Google Scholar]
  96. Jackson MD. 2018. Forms of life and life itself: reflections on human relations with ideas, artworks, and other species. HAU 8:584–95
     [Google Scholar]
  97. Jakobson R. 1960. Closing statement: linguistics and poetics. Style in Language T Sebeok 350–77 Cambridge, MA: MIT Press
     [Google Scholar]
  98. Jopling CF 1971. Art and Aesthetics in Primitive Societies: A Critical Anthology New York: Dutton
     [Google Scholar]
  99. Karp I, Lavine SD 1991. Exhibiting Cultures: The Poetics and Politics of Museum Display Washington, DC: Smithson. Inst. Press
     [Google Scholar]
  100. Kester GH. 2011. The One and the Many: Contemporary Collaborative Art in a Global Context Durham, NC: Duke Univ. Press
     [Google Scholar]
  101. Kirksey E 2014. The Multispecies Salon Durham, NC: Duke Univ. Press
     [Google Scholar]
  102. Kirshenblatt-Gimblett B. 1991. Objects of ethnography. See Karp & Lavine 1991 386–443
  103. Kirshenblatt-Gimblett B. 1995. Confusing pleasures. See Marcus & Myers 1995 224–55
  104. Kisin E. 2015. Terms of revision: contemporary complicities and the art of collaboration. Collab. Anthropol. 7:2180–210
     [Google Scholar]
  105. Kramer J. 2006. Switchbacks: Art, Ownership and Nuxalk National Identity Vancouver: Univ. B. C. Press
     [Google Scholar]
  106. Kristeller PO. 1990 (1951). The modern system of the arts. Renaissance Thought and the Arts: Collected Essays163–227 Princeton, NJ: Princeton Univ. Press
     [Google Scholar]
  107. Krmpotich C. 2014. The Force of Family: Repatriation, Kinship, and Memory on Haida Gwaii Toronto: Univ. Tor. Press
     [Google Scholar]
  108. Küchler S. 1997. Malangan: art and memory in a Melanesian society. Man 22:238–55
     [Google Scholar]
  109. Küchler S. 2002. Malanggan: Art, Memory, and Sacrifice Oxford, UK: Berg
     [Google Scholar]
  110. Küchler S. 2007. The string in art and science: rediscovering the material mind. Textile Cloth Cult 5:124–39
     [Google Scholar]
  111. Layton R. 1981. The Anthropology of Art New York: Columbia Univ. Press
     [Google Scholar]
  112. Layton R. 2003. Art and Agency: a reassessment. J. R. Anthropol. Inst. 9:447–64
     [Google Scholar]
  113. Leach E. 1954. A Trobriand medusa. Man 54:103–5
     [Google Scholar]
  114. Liboiron M. 2017. Compromised agency: the case of BabyLegs. Engag. Sci. Technol. Soc. 3:499–527
     [Google Scholar]
  115. Malinowski B. 1935. Coral Gardens and Their Magic: A Study of the Methods of Tilling the Soil and of Agricultural Rites in the Trobriand Islands London: Allen and Unwin
     [Google Scholar]
  116. Marcus GE. 2010. Contemporary fieldwork aesthetics in art and anthropology: experiments in collaboration and intervention. Vis. Anthropol. 23:263–77
     [Google Scholar]
  117. Marcus GE, Fischer MMJ. 1986. Anthropology as Cultural Critique: An Experimental Moment in the Human Sciences Chicago: Univ. Chicago Press
     [Google Scholar]
  118. Marcus GE, Myers FR 1995. The Traffic in Culture: Refiguring Art and Anthropology Berkeley: Univ. Calif. Press
     [Google Scholar]
  119. McLean I. 2011. Aboriginal art and the artworld. How Aborigines Invented the Idea of Contemporary Art: Writings on Aboriginal Art I McLean 17–75 Brisbane/Sydney: IMA and Power Publications
     [Google Scholar]
  120. Mead S. 1984. Te Maori: Maori Art from New Zealand Collections New York: Abrams
     [Google Scholar]
  121. Miller D. 1987. Material Culture and Mass Consumption London: Blackwell
     [Google Scholar]
  122. Mitchell WJT. 1995. Picture Theory: Essays on Verbal and Visual Representation Chicago: Univ. Chicago Press
     [Google Scholar]
  123. Mitchell WJT. 2005. What Do Pictures Want? The Lives and Loves of Images Chicago: Univ. Chicago Press
     [Google Scholar]
  124. Mithlo NM. 2004. “We have all been colonized”: subordination and resistance on a global arts stage. Vis. Anthropol. 17:229–45
     [Google Scholar]
  125. Mithlo NM. 2009. “Our Indian Princess”: Subverting the Stereotype Santa Fe: Sch. Adv. Res. Press
     [Google Scholar]
  126. Morphy H. 1989. From dull to brilliant: the aesthetics of spiritual power among the Yolngu. Man 24:21–40
     [Google Scholar]
  127. Morphy H. 1991. Ancestral Connections: Art and an Aboriginal System of Knowledge Chicago: Univ. Chicago Press
     [Google Scholar]
  128. Morphy H. 1997. Aboriginal Art London: Phaedon
     [Google Scholar]
  129. Morphy H. 2007. Becoming Art: Exploring Cross-Cultural Categories Oxford, UK: Berg
     [Google Scholar]
  130. Morphy H. 2008. The Laverty collection: exploring the qualities of Aboriginal art. Beyond Sacred: Recent Painting from Australia's Remote Communities C Laverty 8–19 Preehan, Aust.: Hardie Grant Books
     [Google Scholar]
  131. Morphy H. 2009. Art as a mode of action: some problems with Gell's art and agency. J. Mater. Cult. 14:5–27
     [Google Scholar]
  132. Moulin R. 1987. The French Art Market: A Sociological View New Brunswick, NJ: Rutgers Univ. Press
     [Google Scholar]
  133. Mullin M. 1995. The patronage of difference: making Indian art “art, not ethnology.”. See Marcus & Myers 1995 166–200
  134. Mullin M. 2001. Culture in the Market: Gender, Art, and Value in the American Southwest Durham, NC: Duke Univ. Press
     [Google Scholar]
  135. Munn ND. 1964. Totemic designs and group continuity in Walbiri cosmology. Aborigines Now: New Perspectives in the Study of Aboriginal Communities M Reay 83–100 Sydney: Angus and Robertson
     [Google Scholar]
  136. Munn ND. 1973. The spatial presentation of cosmic order in Walbiri iconography. Primitive Art and Society A Forge 193–220 Oxford, UK: Oxford Univ. Press
     [Google Scholar]
  137. Munn ND. 1986. The Fame of Gawa: A Symbolic Study of Value Transformation Cambridge, UK: Cambridge Univ. Press
     [Google Scholar]
  138. Myers F. 1989. Truth, beauty and Pintupi painting. Vis. Anthropol. 2:163–95
     [Google Scholar]
  139. Myers F. 1991. Representing culture: the production of discourse(s) for Aboriginal acrylic paintings. Cult. Anthropol. 6:26–62
     [Google Scholar]
  140. Myers F. 2004. Ontologies of the image and economies of exchange. Am. Ethnol. 31:1–16
     [Google Scholar]
  141. Myers F. 2009. Graceful transfigurations of person, place and story: the stylistic evolution of Shorty Lungkarta Tjungurrayi. Icons of the Desert: Early Aboriginal Paintings from Papunya R Benjamin 51–64 Ithaca, NY: Cornell Univ. Press
     [Google Scholar]
  142. Myers F. 2013. Disturbances in the field: exhibiting Aboriginal art in the US. J. Sociol. 43:2–3151–72
     [Google Scholar]
  143. Myers F. 2018. Afterword: Diorama, defamiliarization, Indigenous presence. Vis. Anthropol. Rev. 34:198–103
     [Google Scholar]
  144. Myers FR. 2000. Around and about modernity: some comments on themes of primitivism and modernism. Antimodernism and Artistic Experience: Policing the Boundaries of Modernity L Jessup 13–25 Toronto: Univ. Tor. Press
     [Google Scholar]
  145. Myers FR 2001. The Empire of Things: Regimes of Value and Material Culture Santa Fe: Sch. Adv. Res. Press
     [Google Scholar]
  146. Myers FR. 2002. Painting Culture: The Making of an Aboriginal High Art Durham, NC: Duke Univ. Press
     [Google Scholar]
  147. Myers N. 2018. Becoming sensor in sentient worlds: a more-than-natural history of a Black Oak Savannah. See Bakke & Peterson 2018 73–96
  148. Nayeri F. 2018. Return of African artifacts sets a tricky precedent for Europe's museums. New York Times Nov. 27. https://www.nytimes.com/2018/11/27/arts/design/macron-report-restitution-precedent.html
    [Google Scholar]
  149. Panoho R. 1992. Māori: at the centre, on the margins. Headlands: Thinking Through New Zealand Art M Barr 122–34 Sydney: Mus. Contemp. Art
     [Google Scholar]
  150. Panoho R. 2015. Māori Art: History, Art, Landscape and Theory Auckland: Bateman
     [Google Scholar]
  151. Phillips RB. 1994. Fielding culture: dialogues between art history and anthropology. Mus. Anthropol. 18:39–46
     [Google Scholar]
  152. Phillips RB. 1998. Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700–1900 Seattle: Univ. Wash. Press
     [Google Scholar]
  153. Phillips RB, Steiner CB. 1999. Art, authenticity and the baggage of cultural encounter. Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds RB Phillips, CB Steiner 3–19 Berkeley: Univ. Calif. Press
     [Google Scholar]
  154. Pietz W. 1985. The problem of the fetish, I. RES 9:5–17
     [Google Scholar]
  155. Pietz W. 1987. The problem of the fetish, II: the origin of the fetish. RES 13:23–45
     [Google Scholar]
  156. Pietz W. 1988. The problem of the fetish, IIIa: Bosman's Guinea and the Enlightenment theory of fetishism. RES 16:105–23
     [Google Scholar]
  157. Pinney C. 1997. Camera Indica: The Social Life of Indian Photographs Chicago: Univ. Chicago Press
     [Google Scholar]
  158. Pinney C. 2004. ‘Photos of the Gods’: The Printed Image and Political Struggle in India London: Reaktion Books
     [Google Scholar]
  159. Povinelli EA. 2015. Windjarrameru, the stealing c*nts. E-Flux J 2015(May–Aug.). http://supercommunity.e-flux.com/texts/windjarrameru-the-stealing-c-nts/
    [Google Scholar]
  160. Price S. 1989. Primitive Art in Civilized Places Chicago: Univ. Chicago Press
     [Google Scholar]
  161. Price S. 2001. Patchwork history: tracing artworlds in the African diaspora. NWIG New West Indian Guide 75:5–34
     [Google Scholar]
  162. Price S. 2007a. Into the mainstream: shifting authenticities in art. Am. Ethnol. 34:603–20
     [Google Scholar]
  163. Price S. 2007b. Paris Primitive: Jacques Chirac's Museum on the Quai Branly Chicago: Univ. Chicago Press
     [Google Scholar]
  164. Price S, Price R. 1999. Maroon Arts: Cultural Vitality in the African Diaspora Boston: Beacon
     [Google Scholar]
  165. Rabinow P, Marcus GE, Faubion JD, Rees T 2008. Designs for an Anthropology of the Contemporary Durham, NC: Duke Univ. Press
     [Google Scholar]
  166. Rancière J. 2004. The Politics of Aesthetics: The Distribution of the Sensible transl. G Rockhill London: Continuum
     [Google Scholar]
  167. Rickard J. 2008. Visualizing sovereignty in the time of biometric sensors. S. Atl. Q. 110:2465–82
     [Google Scholar]
  168. Rikou E, Yalouri E. 2018. The art of research practices between art and anthropology. Field 201811 http://field-journal.com/editorial/introduction-the-art-of-research-practices-between-art-and-anthropology
    [Google Scholar]
  169. Rouch J. 2003. Ciné-Ethnography transl./ed. S Feld Minneapolis: Univ. Minn. Press
     [Google Scholar]
  170. Rubin W 1984. “Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern New York: Mus. Mod. Art
     [Google Scholar]
  171. Rushing WJ. 1995. Native American Art and the New York Avant-Garde: A History of Cultural Primitivism Austin: Univ. Tex. Press
     [Google Scholar]
  172. Said EW. 1978. Orientalism New York: Random House
     [Google Scholar]
  173. Sansi R. 2014. Art, Anthropology, and the Gift New York: Bloomsbury
     [Google Scholar]
  174. Schacter R. 2014. Ornament and Order: Graffiti, Street Art, and the Parergon Farnham: UK: Ashgate
     [Google Scholar]
  175. Schneider A. 1996. Uneasy relationships: contemporary artists and anthropology. J. Mater. Cult. 1:183–210
     [Google Scholar]
  176. Schneider A 2017. Alternative Art and Anthropology: Global Encounters London: Bloomsbury
     [Google Scholar]
  177. Schneider A, Wright C 2006. Contemporary Art and Anthropology Oxford, UK: Berg
     [Google Scholar]
  178. Schneider A, Wright C 2010. Between Art and Anthropology: Contemporary Ethnographic Practice Oxford, UK: Berg
     [Google Scholar]
  179. Simpson A. 2018. “Tell me why, why, why”: a critical commentary on the visuality of settler expectation. VAR 34:60–66
     [Google Scholar]
  180. Spyer P 1998. Border Fetishisms: Material Objects in Unstable Spaces London: Routledge
     [Google Scholar]
  181. Steiner CB. 1994. African Art in Transit Cambridge, UK: Cambridge Univ. Press
     [Google Scholar]
  182. Steiner CB. 2001. Rights of passage: on the liminal identity of art in the border zone. See Myers 2001 207–32
  183. Taussig M. 1993. Mimesis and Alterity: A Particular History of the Senses London/New York: Routledge
     [Google Scholar]
  184. Taussig M. 2011. Fieldwork Notebooks: 100 Notes, 100 Thoughts Documenta Ser. 001. Berlin: Hatje Cantz
     [Google Scholar]
  185. Thomas N. 1991. Entangled Objects: Exchange, Material Culture, and Colonialism in the Pacific Cambridge, MA: Harvard Univ. Press
     [Google Scholar]
  186. Thomas N. 1999. Possessions: Indigenous Art/Colonial Culture London: Thames & Hudson
     [Google Scholar]
  187. Todd Z. 2017. Fish, kin and hope tending to water violations in amiskwaciwâskahikan and treaty six territory. Afterall 43:102–7
     [Google Scholar]
  188. Torgovnick M. 1990. Gone Primitive: Savage Intellects, Modern Lives Chicago: Univ. Chicago Press
     [Google Scholar]
  189. Townsend-Gault C. 2004. Circulating aboriginality. J. Mater. Cult. 9:183–202
     [Google Scholar]
  190. Tuck E, Yang KW. 2012. Decolonization is not a metaphor. Decolonization Indig. Educ. Soc. 1:1–40
     [Google Scholar]
  191. Turner T. 1980. The social skin. Not Work Alone: A Cross-Cultural View of Activities Superfluous to Survival J Cherfas, R Lewis 112–40 London: Temple Smith
     [Google Scholar]
  192. Turner T. 1991. Defiant images: the Kayapo appropriation of video. Anthropol. Today 8:5–16
     [Google Scholar]
  193. Varnedoe K, Gopnik A. 1990. High and Low: Modern Art, Popular Culture New York: Abrams
     [Google Scholar]
  194. Welland S. 2018a. Aesthetics: theorizing the contemporary. Keywords Ethnogr. Design Ser. Fieldsights March 29. https://culanth.org/fieldsights/aesthetics
    [Google Scholar]
  195. Welland SS-L. 2018b. Experimental Beijing: Gender and Globalization in Chinese Contemporary Art Durham, NC: Duke Univ. Press
     [Google Scholar]
  196. Williams R. 1978. Marxism and Literature Oxford, UK: Oxford Univ. Press
     [Google Scholar]
  197. Winegar J. 2006. Creative Reckonings: The Politics of Art and Culture in Contemporary Egypt Stanford, CA: Stanford Univ. Press
     [Google Scholar]
  198. Winegar J. 2008. The humanity game: art, Islam and the War on Terror. Anthropol. Q. 81:651–81
     [Google Scholar]
  199. Witherspoon G. 1977. Language and Art in the Navajo Universe Ann Arbor: Univ. Mich. Press
     [Google Scholar]
  200. Wolff J. 1981. The Social Production of Art London: Palgrave
     [Google Scholar]
  201. Young D. 2011. Colouring cars: customizing motor vehicles in the east of the Australian western desert. See Clarke 2011 117–27
  202. Ziff B, Rao P 1997. Borrowed Power: Essays on Cultural Appropriation New Brunswick, NJ: Rutgers Univ. Press
     [Google Scholar]
/content/journals/10.1146/annurev-anthro-102218-011331
Loading
  • Article Type: Review Article

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a Success
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error