The Anthropology of Art: A Reader (Blackwell Anthologies in Social and Cultural Anthropology) PDF
Preview The Anthropology of Art: A Reader (Blackwell Anthologies in Social and Cultural Anthropology)
Morphy/TheAnthropologyofArt 1405105615_1_pretoc FinalProof page 1 1.12.2005 2:11pm The Anthropology of Art Morphy/TheAnthropologyofArt 1405105615_1_pretoc FinalProof page 2 1.12.2005 2:11pm Blackwell Anthologies in Social and Cultural Anthropology SeriesEditor:Parker Shipton,Boston University SeriesAdvisory EditorialBoard: Fredrik Barth, University ofOsloand Boston University Stephen Gudeman,University of Minnesota Jane Guyer,Northwestern University Caroline Humphrey,University of Cambridge Tim Ingold,University of Aberdeen EmilyMartin, Princeton University JohnMiddleton, Yale Emeritus Sally Falk Moore, Harvard Emerita Marshall Sahlins, University ofChicago Emeritus Joan Vincent, Columbia Universityand Barnard College Emerita Drawing from some of the most significant scholarly work of the nineteenth and twentieth centuries, the Blackwell Anthologies in Social and Cultural Anthropology series offers a comprehensive and unique perspective on the ever-changing field of anthropology.Itrepresentsbothacollectionofclassicreadersandanexcitingchallenge to the norms that haveshaped this discipline over the pastcentury. Each edited volume is devoted to a traditional subdiscipline of the field such as the anthropology of religion, linguistic anthropology, or medical anthropology; and pro- vides a foundation in the canonical readings of the selected area. Aware that such subdisciplinary definitions are still widely recognized and useful – but increasingly problematic – these volumes are crafted to include a rare and invaluable perspective on social and cultural anthropology at the onset of the twenty-first century. Each text provides a selection of classic readings together with contemporary works that under- scoretheartificialityofsubdisciplinarydefinitionsandpointstudents,researchers,and generalreaders inthe new directionsin which anthropologyis moving. 1 LinguisticAnthropology:A Reader Edited by Alessandro Duranti 2 AReaderinthe Anthropology of Religion Edited by Michael Lambek 3 The Anthropologyof Politics: AReaderinEthnography,Theory,and Critique Edited by Joan Vincent 4 Kinship and Family: AnAnthropological Reader Edited by Robert Parkin and Linda Stone 5 LawandAnthropology: AReader Edited by Sally FalkMoore 6 The Anthropology of Development and Globalization: From Classical Political Economy to Contemporary Neoliberalism Edited by Marc Edelman and Angelique Haugerud Morphy/TheAnthropologyofArt 1405105615_1_pretoc FinalProof page 3 1.12.2005 2:11pm The Anthropology of Art A Reader Edited by Howard Morphy and Morgan Perkins Morphy/TheAnthropologyofArt 1405105615_1_pretoc FinalProof page 4 1.12.2005 2:11pm (cid:1)2006byBlackwellPublishingLtd BLACKWELLPUBLISHING 350MainStreet,Malden,MA02148-5020,USA 9600GarsingtonRoad,OxfordOX42DQ,UK 550SwanstonStreet,Carlton,Victoria3053,Australia TherightofHowardMorphyandMorganPerkinstobeidentifiedastheAuthorsoftheEditorialMaterialin thisWorkhasbeenassertedinaccordancewiththeUKCopyright,Designs,andPatentsAct1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, exceptaspermittedbytheUKCopyright,Designs,andPatentsAct1988,withoutthepriorpermissionof thepublisher. Firstpublished2006byBlackwellPublishingLtd 1 2006 LibraryofCongressCataloging-in-PublicationData Theanthropologyofart:areader/editedbyHowardMorphyandMorganPerkins. p.cm.—(Blackwellanthologiesinsocialandculturalanthropology) Includesbibliographicalreferencesandindex. ISBN-13:978-1-4051-0561-3(hardcover:alk.paper) ISBN-10:1-4051-0561-5(hardcover:alk.paper) ISBN-13:978-1-4051-0562-0(pbk.:alk.paper) ISBN-10:1-4051-0562-3(pbk.:alk.paper) 1.Artandanthropology.2.Artandsociety.I.Perkins,Morgan.II.Morphy,Howard.III.Series. N72.A56A672005 —dc22 2005013067 AcataloguerecordforthistitleisavailablefromtheBritishLibrary. Setin9/11ptSabon bySPIPublisherServices,Pondicherry,India PrintedandboundintheUnitedKingdom byTJInternationalLtd,Padstow,Cornwall Thepublisher’spolicyistousepermanentpaperfrommillsthatoperateasustainableforestrypolicy,and whichhas beenmanufactured frompulpprocessedusingacid-freeandelementarychlorine-freepractices. Furthermore,thepublisherensuresthatthetextpaperandcoverboardusedhavemetacceptableenviron- mentalaccreditationstandards. Forfurtherinformationon BlackwellPublishing,visitourwebsite: www.blackwellpublishing.com Morphy/TheAnthropologyofArt 1405105615_2_toc FinalProof page 5 1.12.2005 2:14pm Contents Acknowledgments viii About the Authors x The Anthropologyof Art: A Reflection on its History and Contemporary Practice 1 Howard Morphy and Morgan Perkins Part I Foundations and Framingthe Discipline 33 1 PrimitiveArt 39 FranzBoas 2 SplitRepresentation inthe Art ofAsia and America 56 Claude Le´vi-Strauss 3 Introduction to Tribes and Forms inAfricanArt 74 William Fagg 4 Style, Grace, and Informationin Primitive Art 78 Gregory Bateson 5 Tikopia Art and Society 91 Raymond Firth 6 The Abelam Artist 109 AnthonyForge Part II Primitivism,Art, and Artifacts 123 7 ModernistPrimitivism: An Introduction 129 William Rubin 8 DefectiveAffinities:‘‘Primitivism’’in 20th Century Art 147 Arthur C.Danto Morphy/TheAnthropologyofArt 1405105615_2_toc FinalProof page 6 1.12.2005 2:14pm vi CONTENTS 9 Histories of the Tribal and the Modern 150 James Clifford 10 ACase in Point and Afterwords to Primitive Artin Civilized Places 167 SallyPrice 11 OrientalAntiquities/FarEastern Art 186 CraigClunas 12 Introduction to Art/Artifact:African Art inAnthropology Collections 209 Susan Vogel 13 Vogel’s Net: Trapsas Artworksand Artworks asTraps 219 Alfred Gell PartIII Aesthetics across Cultures 237 14 Yoruba ArtisticCriticism 242 Robert Farris Thompson 15 Style inTechnology:Some Early Thoughts 270 HeatherLechtman 16 ‘‘Marvels of Everyday Vision’’:The Anthropologyof Aesthetics and the Cattle-keeping Nilotes 281 JeremyCoote 17 From Dullto Brilliant:The Aesthetics ofSpiritual Power Among the Yolngu 302 Howard Morphy PartIV Form, Style, and Meaning 321 18 Visual Categories:An Approach tothe Study ofRepresentational Systems 326 Nancy D. Munn 19 Structural Patterning in Kwakiutl Art and Ritual 339 Abraham Rosman and PaulaG. Rubel 20 Sacred Art and Spiritual Power: AnAnalysisof Tlingit Shamans’Masks 358 Aldona Jonaitis 21 All Things Made 374 David M. Guss 22 Modernityand the ‘‘Graphicalization’’ofMeaning: NewGuinea Highland Shield Design in HistoricalPerspective 387 Michael O’Hanlon Morphy/TheAnthropologyofArt 1405105615_2_toc FinalProof page 7 1.12.2005 2:14pm CONTENTS vii Part V Marketing Culture 407 23 Arts ofthe Fourth World 412 Nelson H. H. Graburn 24 The Collecting and Displayof Souvenir Arts: Authenticity and the ‘‘Strictly Commercial’’ 431 Ruth B. Phillips 25 The Art of the Trade: Onthe Creation of Value and Authenticityin the African Art Market 454 ChristopherB. Steiner Part VI ContemporaryArtists 467 26 ASecond Reflection: Presence and Opposition in Contemporary Maori Art 472 NicholasThomas 27 Representing Culture: The Production ofDiscourse(s)forAboriginal Acrylic Paintings 495 FredMyers 28 Aesthetics and Iconography: AnArtist’s Approach 513 Gordon Bennett 29 Kinds of Knowing 520 Charlotte Townsend-Gault 30 Cew Ete Haw I Tih: The Bird That CarriesLanguage Back toAnother 544 Jolene Rickard Index 549 Morphy/TheAnthropologyofArt 1405105615_3_posttoc FinalProof page 8 30.11.2005 9:29pm Acknowledgments Firstandforemost,muchgratitudemustgotooureditorJaneHuberforheralwaysaffableand patiententhusiasmfromtheverybeginningwhentheprojectwasjustagleaminseveralpairsof eyes.TheserieseditorParkerShiptonhasprovidedmuchencouragementandcommentaryalong theway.EmilyMartin,AngelaCohen,GraemeLeonard,LisaEaton,andmanyBlackwellstaff membershavehelpedtoguidethemanuscriptthroughitsvariousstagesandlentadvicewhenmost needed.ThankstoLoreenMurphyandRobertNichollfortheirhelpinnegotiatingthelabyrinthof permissionacquisition,andElizabethWood-Ellemforproducingtheindexatshortnotice.Karen Westmacotthasmadeaninvaluablecontributioninfacilitatingcommunication,editorialassist- ance, and employing her eye for detail. Frances’ Morphy’s critical reading of drafts of the introduction is greatly appreciated. Special thanks to all the authors of the articles who have beenabletolendassistancewiththeoftensurprisinglycomplexdetailsofrepublishingtheirwork. The editors and publisher gratefully acknowledge the permission granted to reproduce the copyrightmaterialinthisbook: 1 FranzBoas,pp.183–188,218–219,222–230,239–240,251–255,279–281fromPrimitive Art.NewYork:Dover,1955. 2 Claude Le´vi-Strauss, ‘‘Split Representation in the Art of Asia and America,’’ pp. 245–268, 385–398fromStructuralAnthropology.NewYork:BasicBooks,1963. 3 WilliamFagg,pp.11–18fromTribesandFormsinAfricanArt.NewYork:Tudor,1965. 4 Gregory Bateson, ‘‘Style, Grace, and Information in Primitive Art,’’ pp. 235–255 from Anthony Forge (ed.), Primitive Art and Society. Oxford: Oxford University Press, 1973. Reprinted by permission of the Wenner-Gren Foundation for Anthropological Research, Inc.,NewYork. 5 RaymondFirth,‘‘TikopiaArtandSociety,’’pp.25–48fromAnthonyForge(ed.),Primitive Art and Society. Oxford: Oxford University Press, 1973. Reprinted by permission of the Wenner-GrenFoundationforAnthropologicalResearch,Inc.,NewYork. 6 Anthony Forge, ‘‘The Abelam Artist,’’ pp. 65–84, 291–294 from Maurice Freedman (ed.), SocialOrganisation:EssaysPresentedtoRaymondFirth.London:Cass,1967. 7 WilliamRubin,‘‘Introduction,’’pp.1–79from‘‘Primitivism’’in20thCenturyArt:Affinityof theTribalandtheModern.NewYork:MuseumofModernArt,[1985]1999.Reprintedby permissionoftheMuseumofModernArt,NewYork 8 ArthurDanto,‘‘DefectiveAffinities,’’fromTheNation37226.NewYork,1984.Reprinted bypermissionofTheNation. Morphy/TheAnthropologyofArt 1405105615_3_posttoc FinalProof page 9 30.11.2005 9:29pm ACKNOWLEDGMENTS ix 9 JamesClifford,‘‘HistoriesoftheTribalandtheModern,’’pp.189–214,349–369fromThe PredicamentofCulture:Twentieth-CenturyEthnography,Literature,andArt.Cambridge, MA: Harvard University Press, 1988. Originally published in Art in America, Brant PublicationsInc.,April1985. 10 SallyPrice,‘‘ACaseinPoint,Afterword,AfterwordtotheSecondEdition,’’pp.108–136(1st edition),134–145(2ndedition)fromPrimitiveArtinCivilizedPlaces,2.Chicago:University ofChicagoPress,[1989]2001.ReprintedbypermissionofChicagoUniversityPress. 11 CraigClunas,‘‘OrientalAntiquities/FarEasternArt,’’pp.413–446fromTaniBarlow(ed.), FormationsofColonialModernityinEastAsia.DurhamandLondon:DukeUniversityPress, 1997.(cid:1)1997DukeUniversityPress.Allrightsreserved.Usedbypermissionofthepublisher. 12 Susan Vogel, ‘‘Introduction,’’ pp. 11–17 from Susan Vogel, ART/Artifact: African Art in Anthropology Collections. New York: Museum for African Art, 1988. Reprinted by per- missionoftheMuseumforAfricanArt. 13 Alfred Gell, ‘‘Vogel’s Net: Traps as Artworks and Artworks as Traps,’’ pp. 15–38 from Journal of Material Culture 1 (1). Sage Publications, 1996. (cid:1) Sage Publications 1996. ReprintedbypermissionofSagePublicationsLtd. 14 Robert Farris Thompson, ‘‘Yoruba Artistic Criticism,’’ pp. 19–61, 435–454 from Warren D’Azevedo (ed.), The Traditional Artist in African Societies, 2. Bloomington: Indiana UniversityPress,1973.ReprintedbypermissionofIndianaUniversityPressLtd. 15 Heather Lechtman, ‘‘Style in Technology: Some Early Thoughts,’’ pp. 3–20 from Heather LechtmanandRobertS.Merrill(eds.),MaterialCulture:Styles,OrganizationandDynam- ics of Technology. Proceedings of the American Ethnological Society for 1975. St. Paul: WestPublishingCompany,1975. 16 JeremyCoote,‘‘MarvelsofEverydayVision:TheAnthropologyofAestheticsandtheCattle- KeepingNilotes,’’pp.245–273fromJeremyCooteandAnthonyShelton(eds.),Anthropology, ArtandAesthetics.Oxford:ClarendonPress,[1992]1995.ReprintedbypermissionofOxford UniversityPress. 17 Howard Morphy, ‘‘From Dull to Brilliant: The Aesthetics of Spiritual Power Among the Yolngu,’’pp.181–208fromJeremyCooteandAnthonyShelton(eds.),Anthropology,Art andAesthetics.Oxford:ClarendonPress,1992.ReprintedbypermissionoftheUniversity ofCaliforniaPress. 18 NancyMunn,‘‘VisualCategories:AnApproachtotheStudyofRepresentationalSystems,’’ pp. 936–950 from American Anthropologist 68. Berkeley: University of California Press, 1966.ReprintedbypermissionfromtheAmericanAnthropologicalAssociation. 19 AbrahamRosmanandPaulaRubel,‘‘StructuralPatterninginKwakiutlArtandRitual,’’pp. 620–639fromMan25(4),1990.ReprintedbypermissionofBlackwellPublishing. 20 AldonaJonaitis,‘‘SacredArtandSpiritualPower:AnAnalysisofTlingitShamans’Masks,’’ pp.119–136fromZenaMathewsandAldonaJonaitis(eds.),NativeNorthAmericanArt History:SelectedReadings.PaloAlto,CA:PeekPublications,1982. 21 DavidGuss,‘‘AllThingsMade,’’pp.69–85,90–91,231–232,247–262fromToWeaveand toSing:Art,SymbolandNarrativeintheSouthAmericanRainForest.Berkeley:University ofCaliforniaPress,1989.ReprintedbypermissionoftheUniversityofCaliforniaPress. 22 MichaelO’Hanlon,‘‘Modernityandthe‘Graphicalization’ofMeaning:NewGuineaHigh- land Shield Design in Historical Perspective,’’ pp. 469–492 from Journal of the Royal AnthropologicalInstitute1,1995.ReprintedbypermissionofBlackwellPublishing. 23 NelsonH.H.Graburn,‘‘Introduction:ArtsoftheFourthWorld,’’pp.1–30,372–393from EthnicandTouristArts:CulturalExpressionsfromtheFourthWorld.Berkeley:University ofCaliforniaPress,1976.ReprintedbypermissionoftheUniversityofCaliforniaPress. 24 Ruth Phillips, ‘‘The Collecting and Display of Souvenir Arts: Authenticity and the Strictly Commercial,’’ pp. 49–71, 287–289, 311–325 from Trading Identities: The Souvenir in Morphy/TheAnthropologyofArt 1405105615_3_posttoc FinalProof page 10 30.11.2005 9:29pm x ACKNOWLEDGMENTS NativeNorthAmericanArtfromtheNortheast,1700–1900.Seattle:UniversityofWashing- tonPress,1998.ReprintedbypermissionoftheUniversityofWashingtonPress. 25 ChristopherB.Steiner,‘‘TheArtoftheTrade:OntheCreationofValueandAuthenticityin the African Art Market,’’ pp. 151–165 from George E. Marcus and Fred R. Myers (eds.), TheTrafficinCulture:RefiguringArtandAnthropology.Berkeley:UniversityofCalifornia Press,1995.ReprintedbypermissionoftheUniversityofCaliforniaPress. 26 NicholasThomas,‘‘ASecondReflection:PresenceandOppositioninContemporaryMaori Art,’’pp.23–46fromJournaloftheRoyalAnthropologicalInstitute1,1995.Reprintedby permissionofBlackwellPublishing. 27 FredMyers,‘‘RepresentingCulture:TheProductionofDiscourse(s)forAboriginalAcrylic Paintings,’’ pp. 26–62 from Cultural Anthropology 6 (1), 1991. Berkeley: University of California Press, 1991. Reprinted by the permission of the American Anthropological Associationandtheauthor. 28 Gordon Bennett, ‘‘Aesthetics and Iconography: An Artist’s Approach,’’ pp. 85–91 from Aratjara,ArtoftheFirstAustralians.Cologne:DuMontBuchverlag,1993. 29 CharlotteTownsend-Gault,‘‘KindsofKnowing,’’pp.76–101fromDianaNemiroff,Robert Houle,andCharlotteTownsend-Gault,Land,Spirit,Power:FirstNationsattheNational GalleryofCanada.Ottawa:NationalGalleryofCanada,1992.Reprintedbypermissionof theNationalGalleryofCanada. 30 JoleneRickard,‘‘CEWETEHAWITIH:TheBirdThatCarriesLanguageBacktoAnother,’’ pp. 105–111 from Lucy Lippard (ed.), Partial Recall. New York: New Press, 1992. Re- printedbypermissionoftheNewPress. Everyefforthasbeenmadetotracecopyrightholdersandtoobtaintheirpermissionfortheuse ofcopyrightmaterial.Thepublisherapologizesforanyerrorsoromissionsintheabovelistand wouldbegratefulifnotifiedofanycorrectionsthatshouldbeincorporatedinfuturereprintsor editionsofthisbook. About the Authors Howard Morphy is Director of the Centre for Cross-Cultural Research at the Australian NationalUniversityandHonoraryCuratorofthePittRiversMuseuminOxford.Hehaswritten and edited a number of books on the anthropology of art and Aboriginal Australian art, including Ancestral Connections: Art and an Aboriginal System of Knowledge (1991) and Aboriginal Art (1998). He has curated many exhibitions including (with Pip Deveson) Yinga- pungapufortheopeningoftheNationalMuseumofAustraliain2001,andhascollaboratedfor manyyearswithIanDunlopofFilmAustraliaontheYirrkalaFilmProject. Morgan Perkins is Assistant Professor of Anthropology and of Art, Director of the Weaver Museum of Anthropology, and of the Museum Studies Program, at SUNY, Potsdam. He has writtenoncontemporaryNativeAmericanandChineseartandcuratedanumberofexhibitions, including What Are We Leaving for the Seventh Generation? Seven Haudenosaunee Voices (2002), and Icons and Innovations: The Cross-Cultural Art of Zhang Hongtu (2003), both at theRolandGibsonArtGallery,SUNY,Potsdam.
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