The Anthropology of Art – A Reader

Acknowledgments.
<p>Introduction: The Anthropology of Art: A Reflection on Its History and Contemporary Practice: Howard Morphy and Morgan Perkins.</p>
<p>Part I: Framing the Discipline:.</p>
<p>Introduction.</p>
<p>1. Primitive Art: Franz Boas.</p>
<p>2. Split Representation in the Art of Asia and America: Claude L&eacute;vi–Strauss.</p>
<p>3. Tribes and Forms in African Art: William Fagg.</p>
<p>4. Style, Grace, and Information in Primitive Art: Gregory Bateson.</p>
<p>5. Tikopea Art and Society: Raymond Firth.</p>
<p>6. The Abelam Artist: Anthony Forge.</p>
<p>Part II: Primitivism and Art/Artifact:.</p>
<p>Introduction.</p>
<p>7. Introduction. In Primitivism in 20th Century Art: Affinity of the Tribal and the Modern: William Rubin.</p>
<p>8. Primitivism in 20th Century Art: Arthur C. Danto.</p>
<p>9. Histories of the Tribal and the Modern: James Clifford.</p>
<p>10. A Case in Point: Sally Price.</p>
<p>11. Oriental Antiquities/Far Eastern: Craig Clunas.</p>
<p>12. Introduction. In ART/Artifact: Susan Vogel.</p>
<p>13. Vogel′s Net: Traps as Artworks and Artworks as Traps: Alfred Gell.</p>
<p>Part III: Aesthetics Across Cultures:.</p>
<p>Introduction.</p>
<p>14. Yoruba Artistic Criticism: Robert Farris Thompson.</p>
<p>15. Style in Technology: Some Early Thoughts: Heather Lechtman.</p>
<p>16. Marvels of Everyday Vision : The Anthropology of Aesthetics and the Cattle–Keeping Nilotes: Jeremy Coote.</p>
<p>17. From Dull to Brilliant: The Aesthetics of Spiritual Power Among the Yolngu: Howard Morphy.</p>
<p>Part IV: Form, Style and Meaning:.</p>
<p>Introduction.</p>
<p>18. Visual Categories: An Approach to the Study of Representational Systems: Nancy D. Munn.</p>
<p>19. Structural Patterning in Kwakiutl Art and Ritual: Abraham Rosman and Paula G. Rubel.</p>
<p>20. Sacred Art and Spiritual Power: An Analysis of Tlingit Shaman s Masks: Aldona Jonaitis.</p>
<p>21. To Weave and Sing: Art, Symbol, and Narrative in the South American Rain Forest: David M. Guss.</p>
<p>22. Modernity and the Graphicalization of Meaning: New Guinea Highland Shield Design in Historical Perspective: Michael O Hanlon.</p>
<p>Part V: Marketing Culture:.</p>
<p>Introduction.</p>
<p>23. Introduction. In Ethnic and Tourist Arts: Cultural Expressions of the Fourth World: Nelson H. H. Graburn.</p>
<p>24. The Collecting and Display of Souvenir Arts: Authenticity and the Strictly Commercial : Ruth B. Phillips.</p>
<p>25. The Art of the Trade: The Creation of Value and Authenticity in the African Art Market: Christopher B. Steiner.</p>
<p>Part VI: Contemporary Artists:.</p>
<p>Introduction.</p>
<p>26. A Second Reflection: Presence and Opposition in Contemporary Maori Art: Nicholas Thomas.</p>
<p>27. Representing Culture: The Production of Discourse(s) for Aboriginal Acrylic Paintings: Fred Myers.</p>
<p>28. Aesthetics and Iconography: An Artists Approach: Gordon Bennett.</p>
<p>29. Kinds of Knowing: Charlotte Townsend–Gault.</p>
<p>30. CEW ETE HAW I TIH: The Bird That Carries Language Back to Another: Jolene Rickard.</p>
<p>Index</p>