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Possessions : indigenous art, colonial culture / Nicholas Thomas
Bib ID 2854387
Format BookBook
Author
Thomas, Nicholas
 
Description New York, N.Y. : Thames and Hudson, c1999 
304 p. : ill. (some col.) ; 24 cm. 
ISBN 0500280975 (paperback)
Series

Interplay, arts, history, theory.

Summary

"Tribal art has been one of the great inspirations for twentieth-century Western artists. Picasso, Matisse, Ernst and Brancusi responded in unforgettable ways to masks, sculpture, and other forms of indigenous African, Oceanic and American art. The politics of this relationship have long been a matter of contention: is it a cross-cultural discovery to be celebrated, or just one more example of Western colonial appropriation?"--BOOK JACKET.

"This book focuses on the distinctive situation of the settler society - countries in which large numbers of Europeans made their home, displacing, outnumbering, but never entirely eclipsing native peoples. In this dynamic of dispossession and resistance, settler artists and designers have drawn on indigenous motifs and styles in their search for national distinctiveness. 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."--BOOK JACKET.

"This book focuses on the distinctive situation of the settler society - countries in which large numbers of Europeans made their home, displacing, outnumbering, but never entirely eclipsing native peoples. In this dynamic of dispossession and resistance, settler artists and designers have drawn on indigenous motifs and styles in their search for national distinctiveness. 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."--BOOK JACKET.

Full contents
  • Ch. 1. Beginnings
  • Ch. 2. Landscapes: Possession and Dispossession
  • Ch. 3. Objects: Indigenous Signs in Colonial Design
  • Ch. 4. Artworks: Indigenous Signs in Colonial Art
  • Ch. 5. Presences: Indigenous Landscapes, Artworks and Exhibitions
  • Ch. 6. Hierarchies: From Traditional to Contemporary
  • Ch. 7. Situations: Indigenous Art in Public Culture
  • Ch. 8. Identities: Diasporas, Nations and Transactions
  • Ch. 9. Endings.
 
Notes

Includes bibliographical references and index.

Subjects Aboriginal Australians -- Ethnic identity.  |  Folk art -- Australia.  |  Folk art -- New Zealand.  |  Indigenous peoples -- Colonization.  |  Indigenous peoples -- Ethnic identity.  |  Maori (New Zealand people) -- Ethnic identity.  |  Art, Modern -- Primitive influences.  |  Folk art -- Western influences.  |  Art - Economic aspects - Markets - Market places.  |  Art - Authenticity.  |  Art - Theory and criticism.  |  Indigenous peoples - Pacific - Maori.  |  Art - Artists - Non-Indigenous.  |  Art - Artists.  |  Art - Textiles.  |  Art - Art motifs.  |  Race relations - Representation - Art.  |  Art - Graphic design and book illustration.  |  New Zealand (NZ)  |  Australia.
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Indigenous art, colonial culture

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