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Death of Authentic Primitive Art : And Other Tales of Progress by Shelly Errington (1998, Trade Paperback)
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About this product
Product Identifiers
PublisherUniversity of California Press
ISBN-100520212118
ISBN-139780520212114
eBay Product ID (ePID)852119
Product Key Features
Number of Pages335 Pages
LanguageEnglish
Publication NameDeath of Authentic Primitive Art : and Other Tales of Progress
Publication Year1998
SubjectHistory / Modern (Late 19th Century to 1945), History / Prehistoric & Primitive, Anthropology / Cultural & Social, History / General
TypeTextbook
AuthorShelly Errington
Subject AreaArt, Social Science
FormatTrade Paperback
Dimensions
Item Height0.9 in
Item Weight19.2 Oz
Item Length9 in
Item Width6 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN98-017204
TitleLeadingThe
IllustratedYes
Table Of ContentList of Illustrations Preface A Note on Punctuation and the Primitive INTRODUCTION TWO CENTURIES OF PROGRESS PART ONE THE DEATH OF AUTHENTIC PRIMITIVE ART 1. Three Ways to Tell the History of (Primitive) Art 2. What Became Authentic Primitive Art? 3· The Universality of Art as a Self-Fulfilling Prophecy 4· The Death of Authentic Primitive Art 5· Authenticity, Primitivism, and Art Revisited PART TWO AND OTHER TALES OF PROGRESS: NATIONALISM, MODERNIZATION, DEVELOPMENT 6. Nationalizing the Pre-Columbian Past in Mexico and the United States 7· The Cosmic Theme Park of the Javanese 8. Making Progress on Borobudur Afterword Notes References Index Illustration Credits
SynopsisIn 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 chosen to exemplify it) must be understood as a product of discourses of progress-from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market. In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia-a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished)-to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development. Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies., 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 chosen to exemplify it) must be understood as a product of discourses of progress--from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market. In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia--a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished)--to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development. Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies.
LC Classification Number98-17204
