The traffic in culture: refiguring art and anthropology PDF
Preview The traffic in culture: refiguring art and anthropology
The Traffic in Culture Refiguring Art and Anthropology EDITED BY George E. Marcus and Fred R. Myers UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London The Traffic in Culture Refiguring Art and Anthropology EDITED BY George E. Marcus and Fred R. Myers UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London N 72 .A S 'f. T13 ,qq For our children-Samantha, Rachel, and Avery ~ University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England New material © 1995 by the Regents of the University of California Parts of this book were published in earlier versions. Chapter 2: "Representing Culture: The Production ofDiscourse(s) for Aboriginal Acrylic Paintings," Cultural Anthropology 6 (no. I, Feb. 1991). Reprinted by permission of the American Anthropological Association. Not for sale or further reproduction. Chapter 3: "From Schizophonia to Schismogenesis," Working Papers and Proceedings ift he Center for P.ryclwsocial Studies, no. 53 (1992); "Voices of the Rainforest," Public Culture 4, no. 1(1991), © 1991 by the University of Chicago, all rights reserved; "Voices of the Rainforest: 'Imperialist Nostalgia' and the Politics of Music," Arena 99/100 (1992); "From Schizophonia to Schismogenesis: On the Discourses and Commodification Practices of 'World Music' and 'World Beat,' " in MusU: Grooves, ed. Charles Keil and Steven Feld (University of Chicago Press, 1994). Chapter 5: "Worlds Together, Worlds Apart: The Mediation of Knowledge by Traders in Mrican Art," V'ISUaIAnthropology Review 6, no. I (1990): 45-49. Reprinted by permission of the American Anthropological Association. Not for sale or further reproduction. Chapter 6: "The Patronage of Difference: Making Indian Art 'Art, Not Ethnology,' " Cultural Anthropology 7 (no. 4, Nov. 1992). Reprinted by permission of the American Anthropological Association. Not for sale or further reproduction. Chapter 7: "The Power of Contemporary Work in an American Art Tradition to muminate Its Own Power Relations," Power: Its Myths and Mores in American Art, 1961-1991, ed. Holliday T. Day (Indianapolis: Indianapolis Museum of Art in cooperation with Indiana University Press, 1991). © Indianapolis Museum ofA rt. Reprinted by permission ofIndiana University Press. Chapter II: "The Female Aesthetic Community," PoetUs Todl!)! 14, no. 1(1993): 143-163' ©Judith L. Goldstein. Chapter 12: "The War on Culture," Art in America (Sept. 1989): 39-45; "Misunderstanding Obscenity," Art in America (May 1990): 49-55; "Reagan's Revenge: Restructuring the NEA," Art in America (Nov. 1990): 49-55; and "Feminist Fundamentalism: Women against Images," Art in America (Sept. 1993): 35-39. © Carole S. Vance. CIP information will be found at the back of this book. ISBN 978-0-520-08847-4 Printed in the United States of America 10 09 08 I1109 8 7 6 54 The paper used in this publication meets the minimum requirements of ANSIINISO Z39-48-J992 (R 1997) (Permanence if Paper). 9 N 72 .A S 'f. T13 ,qq For our children-Samantha, Rachel, and Avery ~ University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England New material © 1995 by the Regents of the University of California Parts of this book were published in earlier versions. Chapter 2: "Representing Culture: The Production ofDiscourse(s) for Aboriginal Acrylic Paintings," Cultural Anthropology 6 (no. I, Feb. 1991). Reprinted by permission of the American Anthropological Association. Not for sale or further reproduction. Chapter 3: "From Schizophonia to Schismogenesis," Working Papers and Proceedings ift he Center for P.ryclwsocial Studies, no. 53 (1992); "Voices of the Rainforest," Public Culture 4, no. 1(1991), © 1991 by the University of Chicago, all rights reserved; "Voices of the Rainforest: 'Imperialist Nostalgia' and the Politics of Music," Arena 99/100 (1992); "From Schizophonia to Schismogenesis: On the Discourses and Commodification Practices of 'World Music' and 'World Beat,' " in MusU: Grooves, ed. Charles Keil and Steven Feld (University of Chicago Press, 1994). Chapter 5: "Worlds Together, Worlds Apart: The Mediation of Knowledge by Traders in Mrican Art," V'ISUaIAnthropology Review 6, no. I (1990): 45-49. Reprinted by permission of the American Anthropological Association. Not for sale or further reproduction. Chapter 6: "The Patronage of Difference: Making Indian Art 'Art, Not Ethnology,' " Cultural Anthropology 7 (no. 4, Nov. 1992). Reprinted by permission of the American Anthropological Association. Not for sale or further reproduction. Chapter 7: "The Power of Contemporary Work in an American Art Tradition to muminate Its Own Power Relations," Power: Its Myths and Mores in American Art, 1961-1991, ed. Holliday T. Day (Indianapolis: Indianapolis Museum of Art in cooperation with Indiana University Press, 1991). © Indianapolis Museum ofA rt. Reprinted by permission ofIndiana University Press. Chapter II: "The Female Aesthetic Community," PoetUs Todl!)! 14, no. 1(1993): 143-163' ©Judith L. Goldstein. Chapter 12: "The War on Culture," Art in America (Sept. 1989): 39-45; "Misunderstanding Obscenity," Art in America (May 1990): 49-55; "Reagan's Revenge: Restructuring the NEA," Art in America (Nov. 1990): 49-55; and "Feminist Fundamentalism: Women against Images," Art in America (Sept. 1993): 35-39. © Carole S. Vance. CIP information will be found at the back of this book. ISBN 978-0-520-08847-4 Printed in the United States of America 10 09 08 I1109 8 7 6 54 The paper used in this publication meets the minimum requirements of ANSIINISO Z39-48-J992 (R 1997) (Permanence if Paper). 9 The Traffic in Culture Refiguring Art and Anthropology EDITED BY George E. Marcus and Fred R. Myers UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London CONTENTS LIST OF ILLUSTRATIONS / ix I. The Traffic in Art and Culture: An Introduction George E. Marcus and Fred R. Myers / I PART RELATIVIZING THE ART WORLD I' 2. Representing Culture: The Production ofDiscourse(s) for Aboriginal Acrylic Paintings Fred R. Myers / 55 3. From Schizophonia to Schismogenesis: The Discourses arid Practices of World Music and World Beat Steven Feld / 96 4. Three Walls: Regional Aesthetics and the International Art World Lynn M. Hart / 127 5. The Art of the Trade: On the Creation of Value and Authenticity in the African Art Market Christopher B. Steiner / 151 6. The Patronage of Difference: Making Indian Art "Art, Not Ethnology" Molly H. Mullin / 166 PART 2' CRITICAL CONSCIOUSNESS IN THE ART WORLD 7. The Power of Contemporary Work in an American Art Tradition to Illuminate Its Own Power Relations George E. Marcus / 201 m! viii CONTENTS 8. Confusing Pleasures ILLUSTRATIONS Barbara Kirshenblatt-Gimblett / 224 9. Inside Trading: Postmodernism and the Social Drama of Su'1flowers in the 1980s Art World Nancy Sullivan / 256 10. The Artist as Ethnographer? Hal Foster / 302 11. The Female Aesthetic Community Judith L. Goldstein / 3IO 12. Four Essays on Art, Sexuality, and Cultural Politics Carole S. Vance / 330 The War on Culture / 331 Misunderstanding ObscenitY / 340 Reagan's Revenge: Restructuring the NEA / 348 Feminist Fundamentalism-Women against lmoges / 359 2.1. Uta UtaJangala at work / 61 UST OF CONTRIBUTORS / 369 2.2. Uta UtaJangala, Tuman / 63 INDEX / 371 2.3. Uta UtaJangala, Old Man Dreaming at Tuman / 64 4.1. Srimati Savitri Devi Sah,]yonti / 130 4.2. Snmati Ugra Tara Devi, Das Mahavidya / 132 4.3. Bowa Devi, Niiginis: Femmes serpents / 136 5.1. Mrican art trader with Senufo mask / 15:3 5.2. Mrican art trader at his stall / 155 5.3. Mrican art trader with wooden storage trunk / 156 5+ Shipment of Mrican art / 158 5.5. Guinean workshop artist with "colonial" figures / 162 5.6. Mrican art trader sanding down "colonial" statues / 163 6.1. Cartoon: "Isn't it cute" I 175 ix viii CONTENTS 8. Confusing Pleasures ILLUSTRATIONS Barbara Kirshenblatt-Gimblett / 224 9. Inside Trading: Postmodernism and the Social Drama of Su'1flowers in the 1980s Art World Nancy Sullivan / 256 10. The Artist as Ethnographer? Hal Foster / 302 11. The Female Aesthetic Community Judith L. Goldstein / 3IO 12. Four Essays on Art, Sexuality, and Cultural Politics Carole S. Vance / 330 The War on Culture / 331 Misunderstanding ObscenitY / 340 Reagan's Revenge: Restructuring the NEA / 348 Feminist Fundamentalism-Women against lmoges / 359 2.1. Uta UtaJangala at work / 61 UST OF CONTRIBUTORS / 369 2.2. Uta UtaJangala, Tuman / 63 INDEX / 371 2.3. Uta UtaJangala, Old Man Dreaming at Tuman / 64 4.1. Srimati Savitri Devi Sah,]yonti / 130 4.2. Snmati Ugra Tara Devi, Das Mahavidya / 132 4.3. Bowa Devi, Niiginis: Femmes serpents / 136 5.1. Mrican art trader with Senufo mask / 15:3 5.2. Mrican art trader at his stall / 155 5.3. Mrican art trader with wooden storage trunk / 156 5+ Shipment of Mrican art / 158 5.5. Guinean workshop artist with "colonial" figures / 162 5.6. Mrican art trader sanding down "colonial" statues / 163 6.1. Cartoon: "Isn't it cute" I 175 ix CONTENTS LIST OF ILLUSTRATIONS / ix I. The Traffic in Art and Culture: An Introduction George E. Marcus and Fred R. Myers / I PART RELATIVIZING THE ART WORLD I' 2. Representing Culture: The Production ofDiscourse(s) for Aboriginal Acrylic Paintings Fred R. Myers / 55 3. From Schizophonia to Schismogenesis: The Discourses arid Practices of World Music and World Beat Steven Feld / 96 4. Three Walls: Regional Aesthetics and the International Art World Lynn M. Hart / 127 5. The Art of the Trade: On the Creation of Value and Authenticity in the African Art Market Christopher B. Steiner / 151 6. The Patronage of Difference: Making Indian Art "Art, Not Ethnology" Molly H. Mullin / 166 PART 2' CRITICAL CONSCIOUSNESS IN THE ART WORLD 7. The Power of Contemporary Work in an American Art Tradition to Illuminate Its Own Power Relations George E. Marcus / 201 m!
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