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What Became Authentic Primitive Art?

16 references·16 citing·28 second hopsampled

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References

1983Time and the Other: How Anthropology Makes Its Object6,775 cited
1988The Predicament of Culture5,526 cited
1976Languages of Art1,596 cited
1991Gone primitive: savage intellects, modern lives1,234 cited
1979Languages of Art: An Approach to a Theory of Symbols.1,049 cited
2007The Philosophy Of Symbolic Forms592 cited
1995Ancestral Connections: Art and an Aboriginal System of Knowledge.372 cited
1973Walbiri Iconography: Graphic Representation and Cultural Symbolism in a Central Australian Society368 cited
1990Primitive Art in Civilized Places344 cited
1992Primitive Art in Civilized Places238 cited
1988The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics216 cited
1974PRIMITIVE ART AND SOCIETY94 cited
1979Introduction to aesthetic anthropology68 cited
1974Good Old Modern: An Intimate Portrait of the Museum of Modern Art63 cited
1989The Aesthetic Experience: An Anthropologist Looks at the Visual Arts63 cited
1966Northwest Coast Indian Art: An Analysis of Form46 cited

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Cited by

1997Body paint, feathers, and vcrs: aesthetics and authenticity in Amazonian activism434 cited
1996Pygmy POP. A Genealogy of Schizophonic Mimesis283 cited
2000The Visible Evidence of Cultural Producers225 cited
2003On ‘appropriation’. A critical reappraisal of the concept and its application in global art practices91 cited
2000Imaging Difference: The Politics of Representation in Multicultural Art Education79 cited
2007Philosophical Perspectives on Art63 cited
1996Uneasy Relationships36 cited
2011The real thing? Souvenir objects in the West African collections at the Manchester Museum32 cited
1998Uncertain regard: An exhibition of aboriginal art in France29 cited
2007From Exhibiting to Installing Ethnography Experiments at the Museum of Anthropology of the University of Coimbra, Portugal, 1999–200520 cited
1996Suppressed and Revised Performances: Raego' Songs of Central Sulawesi16 cited
2007On‘appropriation’. A critical reappraisal of the concept and its application in global art practices*13 cited
2025What Makes Exhibitions Ethnographic?12 cited
2015Trophies of War: Representing ‘Summer Palace’ Loot in Military Museums in the UK11 cited
2003High art as tourist art, tourist art as high art: Comparing the New Guinea Sculpture Garden at Stanford University and Sepik River tourist art10 cited
2015This Exhibition is about now: Tasmanian Aboriginality at the Tasmanian Museum and Art Gallery9 cited