1. The Art World
1.1. Art History as Ideology
1.1.1. Challenge of freedom from the concept of art, having the wester ideology maintain grip over art classification and institutions. Religious analysis has been freed from Euro and ethnocentric concepts of religion
1.1.2. The art world is connected to complex culture and economic system.
1.1.2.1. art provides certain cultures with economical needs as the world sees them appealing
1.1.3. Errington
1.1.3.1. Art is defined by the value of its consumption
1.1.3.2. Apply hierarchy to the process
1.1.3.3. Value applied to functionally useless objects
1.1.4. Tom Gretton
1.1.4.1. Aesthetic values are culturally specific
1.1.4.2. Artifacts are bound to the people
1.1.4.3. Western concept of Art is a socially constructed catalog
1.1.5. The artist should have freedom to express himself, guided by an intuitive feeling of rightness or harmony. Te values expressed transcended rules and methodological analysis by communicating directly to the observer, whose taste might be informed by a connoisseurial understanding of art history, but was untroubled by any sense of cultural relativism or comparison with alternative cultural traditions. Burt, Ben. page 160 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-10 00:15:53.
1.2. Reappraising of Art History
1.2.1. Art historians rethink the discipline
1.2.1.1. Methodology
1.2.1.2. Social history
1.2.1.3. Social and economic context
1.2.1.4. Gendered
1.2.2. Class and classification
1.2.2.1. cultural superiority through possession of valuable art objects
1.2.2.2. High class taste
1.2.2.2.1. Taste is learned through institutions
1.2.3. Gender
1.2.3.1. Men are authors of most prestigious arts
1.2.3.2. Women’s art is considered as craft
1.2.3.3. women were not allowed to enter art schools
1.2.4. The most obvious of these hierarchies distinguishes artefacts credited with the expression of aesthetic and symbolic values as true art or “fne art” from lesser artefacts designated as applied or “decorative” art, “design,” or “craft.” Te hierarchy is one of artistic and commercial value that afects the status and income of art collectors and curators, artists and designers, craftworkers, dealers, and shopkeepers, who all depend on the art and collection sectors of Western societies. Burt, Ben. page 162 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-10 01:05:13.
1.3. Art as Collectives
1.3.1. Beauty is in the eye of the shareholder
1.3.1.1. Religious icons
1.3.1.2. Luxury goods
1.3.1.3. Public monuments
1.3.2. Influential collections
1.3.2.1. Famous art are co-opted by other art or artifacts giving them value
1.3.2.2. Collection may include a certain popular style or famous artist
1.3.3. Business of exhibits
1.3.3.1. Art became more commercialized than before
1.3.3.2. Metropolitan elite can invest in collectibles
1.3.3.3. Exhibits are places where art is bought, sold, and collected
1.3.3.4. Collecting defines museums, and so it also defines art
1.3.3.5. Collecting
1.3.3.5.1. the process of actively, selectively, and passionately acquiring and possessing things removed from ordinary use and perceived as part of a set of non-identical objects or experiences.
1.3.3.5.2. Develop intellectual value as contributions to humanity
1.3.3.6. Fine art prices are in the millions
1.3.4. 20th century movements questioned the meaning of museums and the institutions
1.3.4.1. Constructivism
1.3.4.2. Impressionism
1.3.4.3. Cubism
1.3.4.4. Futurism
1.3.4.5. Fascism
1.3.5. Fred Wilson
1.3.5.1. Displayed slave shackles with fine silver pieces found at the museum
1.3.5.2. Offended museum display conventions
1.3.5.3. Art is used to poke fun and challenge the conventions of high art and art museums
1.4. The Art Brokers
1.4.1. Marketing Coolness and Rebellion
1.4.1.1. Art galleries must standout
1.4.1.2. Museums will not hold on to items with recent controversial past
1.4.2. The concept of art is rooted in upper and middle classes
1.4.2.1. Europe
1.4.2.2. North America
1.4.2.3. China
1.4.3. Tese are the kinds of judgments made by collectors and patrons, artists and dealers, art historians and curators, and other professionals who manage relationships between the art world and the broader public on whose support it ultimately depends. As art brokers, they need a good analytical understanding of the relationship between collecting, commerce, and public institutions. Burt, Ben. page169 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-10 00:46:11.
2. The Exotic Primitive
2.1. Primitivism and Primitive Art
2.1.1. During the colonial period there was a huge collection of exotic artifacts from the tribes colonized by Europe. Art was a curiosity at the time, something that caught the eye of the colonizers and found interest in.
2.1.2. The Belgian Congo
2.1.2.1. King Leopold of Belgium private colonial enterprise
2.1.2.2. enslaved almost entire country.
2.1.2.3. Forced labor to produce rubber under the guise of civilizing the primitive.
2.1.2.3.1. Forced labor killed 10 million in 20 years
2.1.2.3.2. Cut off hands of Congolese unable to meet rubber quotas
2.1.2.4. Convinced Western world of philanthropic agenda
2.1.2.4.1. civilizing the primitive
2.1.3. Benin, Nigeria
2.1.3.1. British provoked an attack
2.1.3.2. Looted the royal palace artifacts of incredible pieces
2.1.3.3. Their art was degenerated from civilized society from Egypt or Portugal
2.1.4. These exhibitions contributed to a debate through which the art world eventually convinced itself that primitive art, as tribal or primal art, should be accepted on the same terms as Western art, rather than as understood by anthropologists and ethnography curators. As such, it became subject to similar criteria of aesthetic appreciation and authenticity, with certain qualifcations. Being primitive, the makers were usually anonymous, so instead of being credited to named artists, artefacts had to be authenticated as deriving from an identifable primitive art tradition and made by a traditional person in traditional style for a traditional purpose. Burt, Ben. page 180 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-11 20:53:04.
2.2. Adopting Primitive Art
2.2.1. Copying Cultures without Copyrights
2.2.1.1. Cultural appropriation
2.2.2. Western artist dissatisfied and wanting to break free from European style, and form
2.2.2.1. Discontented with Renaissance concepts of naturalism
2.2.2.1.1. Africa
2.2.2.1.2. Pacific Islands
2.2.3. Artist convinced small societies represented unconstrained and unrepressed used style
2.2.4. Inspired Impressionist
2.2.4.1. Paul Gaugin
2.2.4.2. Pablo Picasso
2.2.5. Gave non-Western art higher value, but underlying
2.2.5.1. Underlying principles of primitive persist
2.2.5.2. still classifies art from Africa using Western concepts
2.3. The Primitive Art Market
2.3.1. Authentic Primitive Art
2.3.1.1. Primitive art became high valued as Primal or Tribal art
2.3.1.2. Authentic representation of homogenous culture
2.3.1.3. Carried false mystique as precolonial and pristine culture
2.3.2. ethnographic present
2.3.2.1. a description of a culture as it was prior to contact with colonial nations
2.3.3. Common symbols
2.3.3.1. fetishes
2.3.3.2. fertility
2.3.4. Exotic art became commodities
2.3.4.1. Sold on international markets
2.3.4.2. People who produced pieces did not see pieces as art
2.3.4.2.1. Producers usually poor and powerless
2.3.4.2.2. Lost connection to the meaning of the art and its tradition
2.4. Exhibiting Exotic Artefacts
2.4.1. New Approach to Primitive Art
2.4.1.1. Museum used temporary exhibits with cultural explanation of art forms
2.4.1.2. Colonial critique of representation
2.4.2. William Fagg
2.4.2.1. Displayed objects in cultural context
2.4.2.2. Focused on cultural and historical issues
2.4.2.3. Ran by people from the culture
2.4.2.4. Built replicas and structures depicting original environment
2.4.3. Almost shift of non-Western Art Ideology
2.4.3.1. exhibits represented a shift of attitude of own civilization
2.4.3.2. Self-doubting critique of industrial capitalism
2.4.4. In 1970, the British Museum began a twenty-fve-year experiment with alternative approaches when it opened the Museum of Mankind to house its Ethnography Department on temporary exile from the main site. Until then, the British Museum had exhibited a representative sample of its enormous ethnography collections in a kind of visible storage arranged by culture areas, but the new policy of the Museum of Mankind was for a program of temporary exhibitions illustrating particular cultures or cultural themes in depth. Many Museum of Mankind exhibitions deliberately challenged colonial stereotypes and raised issues of cultural representation. Burt, Ben. page 183 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-11 20:57:37.
3. Marketing Exotic Art
3.1. Exporting Local Artefacts
3.1.1. Europe established art exchange during colonial period. this period is characterized by the exchange of art depended on taste of metropolitan elite, still engaged in the whims of Western art values.
3.1.2. Northwest Coast of Native America
3.1.2.1. Indigenous groups have been systemically marginalized
3.1.2.1.1. Cultural suppression
3.1.2.1.2. Forced assimilation
3.1.2.1.3. Reservation life
3.1.2.2. Simultaneously requesting authentic art and artifacts
3.1.2.3. Haida of Queen Charlotte Islands
3.1.2.3.1. Haida traded with visiting Europeans
3.1.2.3.2. Artifacts traditionally based on creatures of the land and sea
3.1.2.4. Carved argillite
3.1.2.4.1. These items were not traditionally made in their culture
3.1.3. Molly Lee
3.1.3.1. identified focused on collector culture and identified three types
3.1.3.1.1. Basket collector
3.1.3.1.2. Special Access collectors
3.1.3.1.3. Tourist
3.1.4. Traditional Art and Commercial Market
3.1.4.1. old for the sake of selling objects and earning a living
3.1.4.2. Understood creation of exotic art as for employment
3.2. Reconsidering Authenticity
3.2.1. 1970s distinctions have been made of authentic According to most experts, exports are the least authentic
3.2.2. Nelson Graburn
3.2.2.1. Researched Inuit soapstone art
3.2.2.2. Art of acculturation
3.2.2.3. Described it as
3.2.2.3.1. Airport art
3.2.2.3.2. Tourist art
3.2.2.3.3. Commercial art
3.2.2.3.4. Not traditional forms
3.2.3. Arts of the Fourth World
3.2.3.1. artifacts of colonized minority peoples within countries that might be called, First, Second, of Third World.
3.2.3.2. Ethnic avoided the use of the term primitive
3.2.4. Graburn’s categories of Fourth World art were of course those of the consumers, based on exactly those Western art values that the producers had trouble understanding. By enabling export artefacts to be treated as objects of academic study, these categories helped to legitimate them to the art brokers— always seeking new material to collect, trade, exhibit, and curate. But while this may have benefted the producers in raising the status and price of their work, it has been less useful in advancing understandings of it. Te problem with Graburn’s analysis was that it maintained an invidious distinction between what he called “arts of acculturation” and (in Errington’s sense) “authentic primitive art.” Te very term “acculturation” implied a loss of culture, hence of authenticity, rather than the recognition that colonized people still have culture even if some of it has been recently adopted from their colonizers. Burt, Ben. page 194 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-11 21:22:41.
3.3. Market Contributions to Local Culture
3.3.1. Selling Local Culture
3.3.1.1. Exotic is attractive
3.3.1.2. demeaning
3.3.1.3. Challenge maintain self respect
3.3.2. Sepik, Papua New Guinea
3.3.2.1. Germans lost colonial control to Australia
3.3.2.2. Focus on tourism and culture
3.3.2.3. Iatmul people of Sepik River
3.3.2.3.1. Art perceived to be part of a lost world
3.3.2.3.2. Used iconography representing clan identity
3.3.2.4. Masks used naturalistic forms gathered from various partner communities
3.3.2.4.1. Art produced for the market and for ritual purposes
3.3.3. Eric Silverman
3.3.3.1. Researched Sepik, Papua New Guinea
3.3.3.2. Nationalized Authentic Primal Culture
3.3.3.3. Produced and displayed pieces for tourist ships
3.3.4. Competition between artists, adhering to taste of tourist
3.3.4.1. Artifacts for sell imitated masks with ritual purpose, but never officially used for spirits
3.3.5. Artifacts given renewed purpose
3.3.5.1. Make money
3.3.5.2. Symbols of identity
3.4. The Homogenization of Exotic Art
3.4.1. Exotic Art and Class
3.4.1.1. Mystique of indigenous art forms in high demand by metropolitan elite
3.4.1.2. Small communities carry symbolic property
3.4.1.2.1. Authenticity
3.4.2. Shona, Zimbabwe
3.4.2.1. Frank McEwen introduced sculpting to shona culture
3.4.2.1.1. utilize their designs to make money
3.4.2.2. Sold to Elite, not to Shona people
3.4.3. Frank McEwen
3.4.3.1. Not racist or not as racist
3.4.3.2. Introduced stone sculpturing to Shona
3.4.3.3. Used their skills to produce Shona influenced sculpture
3.4.4. Solomon Islands
3.4.4.1. Development of woodcarving developed by Christian missions
3.4.4.2. WWII
3.4.4.2.1. American serviceman created demand for souvenirs
3.4.4.2.2. Motifs based on precolonial themes
3.4.4.3. New Styles and Influences
3.4.4.3.1. Polished hardwood masks inlaid with pearl shell
3.4.4.3.2. Masks derived from East Africa Prototypes
3.4.4.4. As the makers of export artefacts have become better acquainted with the tastes of metropolitan purchasers of exotica, so they have adopted styles from distant parts of the world that share the common values of this market. These are things that will hang on a wall or stand on a shelf in a Western-style home, appearing at once exotic and familiar. A resemblance to African sculpture helps, especially when mediated by European Primitivist painting and sculpture, providing there is a distinctive local interpretation. Burt, Ben. page 197 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-11 21:31:58.
4. Artistic Colonialism
4.1. Images of Appropriation
4.1.1. Colonial nation refashioned art and artifacts to adhere to new political reality of the colonized. Artifacts helped persuade the public of the virtue of conquest.
4.1.2. Categorize of the colonized
4.1.2.1. Images and photographs used to portray and objectify colonized people
4.1.2.2. Glories of empire proclaimed through stereotyped images
4.1.3. North America
4.1.3.1. Land of "Noble savage"
4.1.3.2. Portraits exhibited and published stereotype
4.1.3.2.1. Doesn’t show desperation of Native Americans
4.1.3.3. Salvage Ethnography
4.1.4. Edward Curtis Sheriff
4.1.4.1. Photographed dying or disappearing cultures
4.1.4.2. Captures only favorable images of Native Americans
4.1.5. Australia and New Zealand
4.1.5.1. Nicholas Thomas
4.1.5.1.1. Landscape paintings would paint Australian Aboriginal into the landscape
4.1.5.1.2. Natural part of the past
4.1.5.1.3. Incidental bystanders' leftover from the past
4.1.5.2. Hybrid New Zealand culture
4.1.5.2.1. Colonizers adapted their own style
4.1.5.2.2. Maori were producing curios
4.1.5.3. Aboriginal Australians
4.1.5.3.1. Less compatible with Western art styles
4.1.5.3.2. 1930s Australian artist used artifacts to develop unique identity
4.1.5.3.3. 1930s Australian artist used artifacts to develop unique identity
4.1.5.3.4. Art as a weapon of identity
4.2. Finding a Place in the Art World
4.2.1. Native North Americans
4.2.1.1. Colonized minorities have included art in national dialogue
4.2.1.2. Usually supported by Western connoisseurs
4.2.1.3. Plains Native Americans started to use paper
4.2.1.3.1. Encouraged to paint and sell by military for tourist, academics, and museums
4.2.1.4. Kiowa
4.2.1.4.1. 1900s Men encouraged to draw
4.2.1.4.2. University of Oklahoma
4.2.2. Australia
4.2.2.1. Abstract concepts of dreamtime enticed Westerners
4.2.2.2. Collected, exhibited, and published internationally
4.2.2.3. Provided important income for artistic tradition
4.2.3. Colonial Paternalism
4.2.3.1. Colonial lens discounted abilities and artist
4.2.3.2. Pop Chalee of Taos Pueblos
4.2.3.2.1. Said to have inspired artist working on Bambi
4.2.3.3. action that limits a person's or group's liberty or autonomy and is intended to promote their own good.
4.2.4. Although these Native American painters were producing images similar to the book illustrations, cartoons, and other works by American and European artists that were never exhibited in art galleries or reproduced for display, colonial racism would have made it difcult for them to compete for such employment. Instead, they found a prestigious market niche in the art world for Native American themes and styles, supporting their own ambitions to develop nostalgic images of their culture. Tis required their work to be authenticated by the tribal afliations always noted after their names, distinguishing them from their many imitators. Tese included Walt Disney’s Bambi , said to have been inspired by the animal paintings of Pop Chalee of Taos Pueblo, who trained at the Santa Fe Indian School. Burt, Ben. page 213 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-11 21:53:22.
4.3. Art Goes Global
4.3.1. Commercial colonies
4.3.1.1. Helped spread Western Art ideology
4.3.1.2. Paternalistic cultural colonialism
4.3.1.3. Established schools and challenged local artistic concepts
4.3.2. India
4.3.2.1. Founded schools all over India
4.3.2.1.1. Became hub of ideological training
4.3.2.1.2. institutionalized training and apprenticeship style programs
4.3.2.2. Claim to improve the Indian culture
4.3.2.2.1. Improve artistic taste
4.3.2.3. Raising social and moral conditions through art
4.3.2.4. India was forced to adhere to the stereotypes and bias of colonial powers
4.3.3. Ghana
4.3.3.1. Ghana colonized by the British Empire
4.3.3.2. The art world is complicated and confusing for many
4.3.3.3. Ghana adopted Western art values only to be marginalized
4.3.3.3.1. Allowed to play the art game, but last to be picked
4.3.3.4. Academy of Arts in Kumasi
4.3.3.4.1. Anticolonial sentiment expressed through art forms
4.3.3.4.2. Promoted Pan-African identity
4.3.3.4.3. Kumasi School of Fine Arts
4.3.4. Japan
4.3.4.1. Colonist to Colonist
4.3.4.1.1. Japanese adopted Western art values
4.3.4.1.2. Willfully engaged and participated in European expositions
4.3.4.2. Traditional Styles reimagined
4.3.4.2.1. Adapted shoga forms
4.3.4.3. Shoga
4.3.4.3.1. characterize by the most prestigious technique of calligraphy and painting but also including technique sha as ceramics, textiles, and metal work
4.3.4.4. Kasai
4.3.4.4.1. ornamentation
4.3.4.5. Bijutsu
4.3.4.5.1. beautiful technique
4.3.4.5.2. Developed to engage Western concepts of art
4.4. Global but Exclusive
4.4.1. World Art and Status Quo
4.4.1.1. Artist different from what is expected usually receive prejudice
4.4.1.2. People treated as ethnic if different
4.4.2. International calls to be freed from the influences of Western art world
4.4.2.1. Promote an alternative audience
4.4.3. Although the art brokers of the West’s metropolitan centers enjoy the increasingly global reach of their art world, they equally enjoy controlling admission to it on their own terms. Would-be artists from non-Western backgrounds have long complained of discrimination, particularly of being accepted as representatives of particular ethnic identities rather than simply as artists on the same terms as Westerners. Artists struggling for recognition in non-Western countries, where art itself is barely recognized, may welcome opportunities to participate in the art world in distant countries they might otherwise never reach, but for the ethnic minorities of Western countries, being treated as an “ethnic” artist can be frustrating. Burt, Ben. page 219World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-11 22:05:20.
5. The Global and the Local
5.1. The Commodification of Art
5.1.1. Established global economic and political system influenced by interest of wealthy metropolitan population. Control of art and artifacts can be a way to assert power.
5.1.2. Core countries
5.1.2.1. ndustrialized former colonial states that dominate the world economic system
5.1.3. Periphery countries
5.1.3.1. least developed and least powerful nations
5.1.4. Past 100 years the world has hanged more than in the past 300 years
5.1.4.1. Today colonialism uses banks
5.1.5. WWII Changed Colonial System
5.1.5.1. Colonialism used soldiers and tanks
5.1.6. European colonialist took control and divided up the planet
5.1.7. Local consumption of local products has declined
5.1.7.1. Became better to exporting art to developed wealthier countries
5.1.7.2. Commercial pressures has led to decline of quality
5.2. Universal and National Museums
5.2.1. Rescue art from capitalism
5.2.1.1. Responsibility for presentation, study, protection, and care of art is in Museums
5.2.1.2. Promote understanding among diverse peoples
5.2.1.3. Colonial legacy has affected colonizer and colonized
5.2.2. Hypocrisy of hierarchy
5.2.2.1. Museums have worked to homogenize art forms
5.2.2.2. Museums justified colonial collections
5.2.2.2.1. Washing away sins of their ancestors
5.2.2.2.2. Describing benefit of pieces in the hands of museums professionals
5.2.2.3. History does not decide ethical standards
5.2.2.4. Many museums have questioned their colonial legacy
5.2.3. Magnus Fiskesjo
5.2.3.1. Contested values of what is “Universal”
5.2.3.2. Alternative to universalism, recognize local custody and appreciation
5.2.3.3. Shared responsibility of human creativity
5.2.4. Africa
5.2.4.1. Museums lost favor of the African elite
5.2.4.2. Training and interest diminished
5.2.4.3. Local people lost interest and actively hostile due to non-Christian artifacts
5.2.4.4. African museum professionals sensed a shift in interests
5.2.4.4.1. Museums should be set by their communities maintaining Heritage
5.3. Alternative Museums
5.3.1. Reconciliation and resources
5.3.1.1. Colonies have been devastated and continue to be devastated
5.3.1.2. Australia
5.3.1.2.1. Colonial settlers have learned to respect aboriginal values of secrecy
5.3.1.2.2. Hired as consultants and staff in museums
5.3.2. Melanesia
5.3.2.1. Locals less interested in museums as repository for artifacts
5.3.2.2. Kastom
5.3.2.2.1. local traditional cultural ideas focus on knowledge and practice, including performance, and focused on issues of land and laws
5.3.2.3. Artifacts interest in ancestral sites, family heirlooms
5.3.2.3.1. Not museum collection
5.3.2.4. Avoids exploitation supporting culture, education, and training
5.3.3. South and Central America
5.3.3.1. Cultural centers recover faint traditional memories
5.3.3.2. Archaeologist have tried to rebuild and rethink relationships
5.3.3.2.1. Tourist attraction used to raise money for local irrigation projects
5.3.3.3. Archaeologist employed and trained a term of locals
5.3.3.3.1. Learned about their site and applied identity
5.4. New Art Communities
5.4.1. Native North Americas
5.4.1.1. Powwows
5.4.1.1.1. Dance festivals of indigenous Native Americans of US and Canada
5.4.1.2. Powwows may have come from Ghost Dance
5.4.2. British Pacific Islanders
5.4.2.1. Britain has innumerable national and ethnic organizations
5.4.2.2. London’s Notting Hill Carnival
5.4.2.2.1. Devoted to maintain cultural identity
5.4.2.2.2. Developed by Caribbean communities in 1960s
5.4.3. Throughout the world, local communities are also developing new artistic programs as indigenous, migrant, or diaspora groups who create identities for themselves in multiethnic societies. Although they may draw upon museums and cultural centers, the artistic activities that seem of most interest to most people are not so much artefacts for their own sake as social activities in which artefacts can play a crucial role. Burt, Ben. page 233 World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-12-11 22:52:18.