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Oaxaca is internationally renowned for its marketplaces and archaeological sites where tourists can buy inexpensive folk art, including replicas of archaeological treasures. Archaeologists, art historians, and museum professionals sometimes discredit this trade in “fakes” that occasionally make their way to the auction block as antiquities. Others argue that these souvenirs represent a long cultural tradition of woodcarving or clay sculpting and are “genuine” artifacts of artisanal practices that have been passed from generation to generation, allowing community members to preserve their cultural practices and make a living. Exploring the intriguing question of authenticity and its relationship to cultural forms in Oaxaca and throughout southern Mexico, Between Art and Artifact confronts an important issue that has implications well beyond the commercial realm. Demonstrating that identity politics lies at the heart of the controversy, Ronda Brulotte provides a nuanced inquiry into what it means to present “authentic” cultural production in a state where indigenous ethnicity is part of an awkward social and racial classification system. Emphasizing the world-famous woodcarvers of Arrazola and the replica purveyors who come from the same community, Brulotte presents the ironies of an ideology that extols regional identity but shuns its artifacts as “forgeries.” Her work makes us question the authority of archaeological discourse in the face of local communities who may often see things differently. A departure from the dialogue that seeks to prove or disprove “authenticity,” Between Art and Artifact reveals itself as a commentary on the arguments themselves, and what the controversy can teach us about our shifting definitions of authority and authorship.
Antiquities --- Art objects --- Cultural property --- Indian art --- Indian wood-carving --- Indians of Mexico --- Reproduction. --- Material culture. --- Oaxaca Valley (Mexico) --- Antiquities.
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Since the mid-1980s, whimsical, brightly colored wood carvings from the Mexican state of Oaxaca have found their way into gift shops and private homes across the United States and Europe, as Western consumers seek to connect with the authenticity and tradition represented by indigenous folk arts. Ironically, however, the Oaxacan wood carvings are not a traditional folk art. Invented in the mid-twentieth century by non-Indian Mexican artisans for the tourist market, their appeal flows as much from intercultural miscommunication as from their intrinsic artistic merit. In this beautifully illustrated book, Michael Chibnik offers the first in-depth look at the international trade in Oaxacan wood carvings, including their history, production, marketing, and cultural representations. Drawing on interviews he conducted in the carving communities and among wholesalers, retailers, and consumers, he follows the entire production and consumption cycle, from the harvesting of copal wood to the final purchase of the finished piece. Along the way, he describes how and why this "invented tradition" has been promoted as a "Zapotec Indian" craft and explores its similarities with other local crafts with longer histories. He also fully discusses the effects on local communities of participating in the global market, concluding that the trade in Oaxacan wood carvings is an almost paradigmatic case study of globalization.
Marketing --- Folk art --- Culture and tourism --- Indian business enterprises --- Indian wood-carving --- Oaxaca Valley (Mexico) --- Oaxaca Valley (Mexico) --- Economic conditions. --- Social conditions.
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"Joseph Hillaire (Lummi, 1894-1967) is recognized as one of the great Coast Salish artists, carvers, and tradition-bearers of the twentieth century. In A Totem Pole History, his daughter Pauline Hillaire, Sca;lla-Of the Killer Whale (b. 1929), who is herself a well-known cultural historian and conservator, tells the story of her father's life and the traditional and contemporary Lummi narratives that influenced his work. A Totem Pole History contains seventy-six photographs, including Joe's most significant totem poles, many of which Pauline watched him carve. She conveys with great insight the stories, teachings, and history expressed by her father's totem poles. Eight contributors provide essays on Coast Salish art and carving, adding to the author's portrayal of Joe's philosophy of art in Salish life, particularly in the context of twentieth century intercultural relations. This engaging volume provides an historical record to encourage Native artists and brings the work of a respected Salish carver to the attention of a broader audience. "--
ART / Native American. --- Totem poles --- Indian wood-carving --- Indian artists --- Lummi Indians --- Totems --- Indians --- Wood-carving, Indian --- Wood-carving --- Artists, Indian --- Artists --- Lummas Indians --- Lumme Indians --- Lummie Indians --- Lumni Indians --- Coast Salish Indians --- Indians of North America --- Hillaire, Joe,
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Tlingit Indians --- Haida Indians --- Indian art --- Sculpture, Primitive --- Indian wood-carving --- Indian mythology --- Tlingit (Indiens) --- Haida (Indiens) --- Art indien d'Amérique --- Sculpture primitive --- Mythologie indienne d'Amérique
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Unlike many other handicrafts in the Mexican state of Oaxaca, which have long cultural and historical trajectories, Oaxacan woodcarving began in the second half of the twentieth century and has always been done for the commercial market. In The Value of Aesthetics, Alanna Cant explores how one family’s workshop in the village of San Martín Tilcajete has become the most critically and economically successful, surpassing those of neighbors who use similar materials and techniques. The dominance of this family is tied to their ability to produce a new aesthetic that appeals to three key “economies of culture”: the tourist market for souvenirs, the national market for traditional Mexican artesanías, and the international market for indigenous art. Offering a new analytical model by which anthropologists can approach visual aesthetics and conceptualize the power of artworks as socially active objects, The Value of Aesthetics shows how aesthetic practices produce and redefine social and political relationships. By investigating the links between aesthetics and issues of production, authorship, ownership, and identity, Cant shows aesthetic change to be a process that ultimately repackages everyday life into commodified objects in Oaxaca.
Indian wood-carving --- Wood-carving industry --- Aesthetics --- Culture --- Indians of Mexico --- Economic aspects --- Material culture --- Indians of North America --- Indigenous peoples --- Meso-America --- Meso-American Indians --- Mesoamerica --- Mesoamerican Indians --- Pre-Columbian Indians --- Precolumbian Indians --- Ethnology --- Cultural sociology --- Sociology of culture --- Civilization --- Popular culture --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Woodworking industries --- Indians --- Wood-carving, Indian --- Wood-carving --- Social aspects --- Psychology --- Radio broadcasting Aesthetics
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Wood sculpture --- Indians of South America --- Sculpture sur bois --- Indiens d'Amérique --- Exhibitions. --- Antiquities --- Expositions --- Antiquités --- Peru --- Pérou --- Exhibitions --- Indiens d'Amérique --- Antiquités --- Pérou --- Indian wood carving --- Wood carvings --- Wooden sculpture --- Sculpture --- Wood-carving --- Indians --- Wood-carving, Indian --- República Peruana --- Piru --- República del Perú --- Republic of Peru --- Piruw --- Republiek van Peru --- بيرو --- Bīrū --- جمهورية بيرو --- Jumhūrīyat Bīrū --- Piruw Suyu --- Peru Respublikası --- Peru ka Fasojamana --- Perú Kiōng-hô-kok --- Перу --- Рэспубліка Перу --- Rėspublika Peru --- Republika Peru --- Република Перу --- Peruánská republika --- Republica di u Perù --- Periw --- Gweriniaeth Periw --- Republikken Peru --- Republik Peru --- Peruu --- Peruu Vabariik --- Περού --- Δημοκρατία του Περού --- Dēmokratia tou Perou --- Peruo --- Perua Respubliko --- Peruko Errepublika --- پرو --- Purū --- Jumhūrī-i Purū --- Perun tasavalta --- Lýðveldið Peru --- République du Pérou --- Peiriú --- Pheroo --- Pobblaght ny Peroo --- Pearu --- República do Perú --- ペルー --- Peru-Bolivian Confederation
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