Cultural Anthropology

1. Prehistoric Art

1.1. Different Prehistoric Ages like Stone, Bronze, and Iron Age. The Paleolithic caves projected art in some of its original art form. Archaeology and ethnography showcased the present art forms.

1.2. Prehistoric Art presented Myths like Matriarchal Origins: worshiping mother goddess. This allured to woman figurines, Stonehenge, and the involvement of gender in art.

1.3. "One such theory, developed in the late nineteenth century, revived Ancient Greek ideas to propose that society was originally "matriarchal;" that is, governed by women, whose mysterious powers of reproduction were honored in the worship of a mother-goddess" (Burt, 74).

2. Form

2.1. Studies conducted over the many centuries of the form of art had drawn analysis of complex patterns within art. Different opinions of analysis from art connoisseurs from all over the world. This allowed for the creation of their own opinions and approaches to the significance of art.

2.2. Clive Bell - Formalism: identifies the principles of composition, such as organic unity among elements, balanced sense of symmetry, and recurring shapes. Bell believes that the mastery of technique and form is more important than anything else.

2.3. "They concentrated instead on visual design as the source of aesthetic values that were the essence of art" (Burt, 86).

3. Meaning

3.1. Reading symbols of heraldry focuses on the ambiguous meaning behind it all and what it means to each family. Western iconography and family crests are what require cultural understanding.

3.2. There are hidden meanings behind all curated art pieces through analysis. With the use of denotative and connotative meanings, art connoisseurs are able to create different perceptions and make use of their own approaches to the imagery proposed in front of them.

3.3. "This approach has produced some very illuminating and plausible studies of local art traditions, if we can believe the analyst rather than the people concerned" (Burt, 106).

4. Performance

4.1. Aesthetic, clothing, and symbolism were all key and important components in performances all around the world. From the use of vibrant colors, costumes, to the actual performances, these are what make the performances memorable and historical.

4.2. Performances like parades or even rituals are all done with a purpose. They all serve some type of purpose, whether it be to do with a celebration of culture, religion, or symbolism of an event, they function to display their social purpose.

4.3. "Impersonating spiritual beings is a way of dealing with them in the human world, and the symbolic power of artefacts enables this to happen in performance, in imagination, and in emotional experience" (Burt, 119).

5. Arachaeology

5.1. Moche Iconography became vital to archaeologists when discovering Moche pottery and the mythology behind it all. The discoveries showcased scenes, themes, patterns, and horizons that would describe or become motifs.

5.2. The Sacrificial Ceremony was a motif based on the common sense of recognition that was carved within these pots. The imagery is what allowed for the discoveries of the meanings behind them.

5.3. "If such images occur repeatedly within consistent contexts, we can assume that they are the product of a shared culture" (Burt, 127).

6. The Work of Art

6.1. The Kula Exchange is a cultural tradition when men of the Trobriand Islands would island hop and exchange shell bead necklaces for arm-rings. This is what allowed for the linking of all the islands.

6.2. There are universal theories on art and artifacts. From form, ideas and perceptions, to the theory from Raymond Firth that all human cultures create patterns.

6.3. "In terms of visual art--that is, artefacts--it has been distinguished from aesthetics; the appreciation of formal beauty that appeals to the senses rather than stimulating the imagination or elevating the mind" (Burt, 141).

7. The Art World

7.1. The power of art and what it does. From theorizing in Anthropoloy, cosmic agency, to its power in cosmology and work; we learn and understand the depth of art within the art world.

7.2. Showcases that new art history looks like the old art history. The system has maintained hierarchies, class, and classification within the art world.

7.3. "This distinction of men's and women's arts in the eighteenth and nineteenth centuries was part of a change in the definitions of masculinity and femininity, which corresponded with an emerging distinction between art and craft" (Burt, 164).

8. The Exotic Primitive

8.1. The appropriation of small cultures or society's artefacts. Their was a certain fascination with exotic art and the value attached to them.

8.2. This shapes the market and appropriation in the art world. The artefacts collected of those who were classified as primitive, art was collected as "curios" in comparison to it being named "art".

8.3. "Accordingly, exotic artifact traditions have been appropriated by the art world with condescension, ranging from patronizing to hostile, evoking stereotypes such as Orientals and primitives" (Burt, 173).

9. Origins of Art

9.1. A time of European expansion of contacting different cultures that allured to the concept of art (Anthropology). This is the very beginning of art to where it was introduced in the Paleolithic Era, originated in Europe, and expanded/revolutionized the New World. Though, through this, different beliefs like ethnocentrism and cultural relativism arrived and are still relative today.

9.2. Four Field Approach: Four interrelated disciplines to study humanity: physical anthropology, archeology, linguistic anthropology, and cultural anthropology; all in which aid to contribute to the different perspectives of humanity.

9.3. The Age of Discovery is what led to the European Hierarchy in the New World and how the different theories of Eurocentrism and Ethnocentrism arrived in the Art World.

9.4. "By the eighteenth century, the European elite had identified the knowledge and skill to create beautiful, thought-provoking images as an art superior to the production of other artefacts and had established as disciplines the history of art (or at least of artists) and the connoisseurship of artistic value" (Burt, 11).

10. Classical Art

10.1. A period where Hellenomania became present and took over artistic style/form. This showcased high superiority in The New World. Not only were they obsessed with Ancient Greece, but also placed that they believed held biblical antiquity like Ancient Egypt & Mesopotamia. They maintained a high Eurocentric view that showcased art through exploitive capitalism.

10.2. Zeitgeist: Spirit of Age, Spirit of Culture.

10.3. "Continuing arguments over the rightful possession of the Parthenon marbles are the more passionate because they have become symbolic of the cultural heritage not merely of Greece but of Western civilization" (Burt, 23).

11. Oriental Art

11.1. The period where countries east of The New World were coined "The Orient" as being opposite to them. Perspectives within eurocentrism and ethnocentrism were strong in deriving stereotypes towards orientalism. The art forms were appreciated though, not understood by others and were not considered "high" art.

11.2. Zeitgeist: Spirit of Age, Spirit of Culture

11.3. "The "Oriental realm" represented the spirit in a less developed stage, lacking the self-awareness realized in full by contemporary Europe" (Burt, 39).

12. Primitive Art

12.1. The Primitive Man and its origins through anthropology were discovered and compared greatly to others. This showcased differences widely between the colonized and natives, "Savages & Western Societies".

12.2. Eurocentric & Ethnocentric ideology was present and theorized many different view points on "The Primitive Man". This ultimately showed that the Europeans were willfully ignorant to indigenous

12.3. Different theories arose like Unilineal Cultural Evolution, or speculative theories: Higher cultures influenced lower cultures & Higher cultures degenerated from exposure.

12.4. "By the end of the nineteenth century, ethnography curators and other scholars of anthropology were using collections of artefacts to speculate about the development of primitive culture, including primitive art" (Burt, 55).

13. Marketing Exotic Art

13.1. The market built on the expansion of trade with Native Americans and West Africans adapting to the exotic art market.

13.2. Though, when it came to pricing and the marketing of "exotic art", it was perceived to be "inauthentic" or "fake". Thus, standards were accommodated as new genres and categories were named as ethnic or world art. Expanding on the market and art world as a whole.

13.3. "Primitive art" appeared a rather pretentious description for artefacts evidently made for sale, especially as the purchasers came into increasing contact with the makers and recognized the implicit insult" (Burt,194).

14. Artistic Colonialism

14.1. The adaptation of art, colonized minorities, artistic ventures, explores interpretation and the colonialism of these cultures.

14.2. Retained power of lands and peoples, ownership over artistic artefacts from their cultures.

14.3. "The fame and wealth attending success in this art world encourages some "ethnic" artists to fight their way in and contest its persistent Eurocentrism, while others do well enough within the ethnic niche markets through which metropolitan consumers continue to enjoy cultural exotica as otherness" (Burt, 221).

15. Global And Local

15.1. The art communities and different museums from all over the world showcase different types of art and serve certain audiences.

15.2. It demonstrates how they each hold ownership to a certain degree and serve a purpose. Global to local traditions exercises art and the consumption of it within society.

15.3. "Artefact traditions, both old and new, can be a powerful means for people to assert more democratic control of their culture" (Burt, 222).