1. Artistic Colonialism
1.1. Images of Appropriation
1.1.1. Images and photographs used to portray and objectify colonized people.
1.1.2. Images function for descendants have inclination to reflect nostalgically on colonial history
1.1.3. North America Land of the “noble savage”
1.1.3.1. Captures only favorable images of Native Americans.
1.1.3.2. Doesn’t show desperation of Native Americans
1.1.4. Australia and New Zealand
1.1.4.1. Australia and New Zealand colonizer asserted claims to land and culture.
1.1.4.2. Landscape paintings would paint Australian Aboriginal into the landscape.
1.1.4.3. Maori were producing curios while colonizers adapted their own style
1.1.4.4. Publication of romantic images and oral traditions.
1.2. Finding a place
1.2.1. Conquerors favor - Colonized minorities have included art in national dialogue.
1.2.1.1. 1870s Native Americans sent to reservations
1.2.1.2. Encouraged to paint and sell by military for tourist, academics, and museums
1.2.1.3. Kiowa Five
1.2.1.3.1. Men encouraged to draw by university of Oklahoma
1.2.1.3.2. 1928 International Art Congress in Prague
1.2.1.3.3. 1932 Venice Biennale art festival
1.2.1.3.4. Developed Santa Fe Indian School
1.2.2. Colonial Peternalism- Colonial lens discounted abilities and artist.
1.2.2.1. More a curiosity than serious fine art.
1.3. Art goes global
1.3.1. India
1.3.1.1. Commercial colonies helped spread western art ideology
1.3.1.2. Paternalistic cultural colonialism
1.3.1.3. British empire founded schools all over india
1.3.1.3.1. nstitutionalized training and apprenticeship style programs
1.3.1.3.2. Claim to improve the Indian culture.
1.3.1.3.3. Raising social and moral conditions through art
1.3.1.3.4. India was forced to adhere to the stereotypes and bias of colonial powers
1.3.1.4. New concepts of fine art created prejudice of Indian art and artists
1.3.1.4.1. Agenda to improve craft art to European standards.
1.3.1.4.2. Educated Indian on European colonial taste
1.3.1.4.3. Discounted Indian art and artist as lacking.
1.3.1.4.4. ndians perceived to be incapable of developing fine art
1.3.2. Ghana
1.3.2.1. Ghana colonized by the British Empire
1.3.2.2. Ghana adopted Western art values only to be marginalized.
1.3.2.3. 1997 Marusk Svasek and International African art from the turn of the 20th century
1.3.2.4. Romanticized images to mold art forms for International art market
1.3.3. Japan
1.3.3.1. Japanese adopted Western art values.
1.3.3.2. Willfully engaged and participated in European expositions
1.3.3.3. Shoga-characterize by the most prestigious technique of calligraphy and painting but also including technique sha as ceramics, textiles, and metal work.
1.3.3.4. Kasai-ornamentation
1.3.3.5. Bijutsu-beautiful technique, Developed to engage Western concepts of art.
2. Global And The Local
2.1. The commodification of art
2.1.1. European colonialist took control and divided up the planet.
2.1.2. China and India currently industrializing following Western models.
2.1.3. Local consumption of local products has declined.
2.1.4. Art culture is experiencing a diminishing artistic diversity.
2.1.5. Skills and materials funneled to feed global system and mass production.
2.1.6. Artistic homogenization threatens traditions.
2.2. Universal and National museums
2.2.1. 2002 North American and European museum directors released, Declaration on the Importance and Value of Universal Museums, claiming responsibility for presentation, study and protection
2.2.2. Objects change meaning as they change eye and hands of the holder.
2.2.3. History does not decide ethical standards.
2.3. Africa
2.3.1. 1960s many African colonies gained independence.
2.3.2. Museums had potential for supporting local cultures.
2.3.3. Illustrate limitations of Western model of Museums
2.3.4. African museum professionals sensed a shift in interests.
2.4. Alternative Museums
2.4.1. Metropolitan museums housed spoils of colonial period.
2.4.2. Colonies have been devastated and continue to be devastated.
2.4.3. Melanesia
2.4.3.1. Locals less interested in museums as repository for artifacts.
2.4.3.2. Kastom-local traditional cultural ideas focus on knowledge and practice, including performance, and focused on issues of land and laws.
2.4.3.3. Center developed program to train fieldworkers to identify local traditions.
2.4.3.4. Avoids exploitation supporting culture, education, and training.
2.4.4. South and Central America
2.4.4.1. Cultural centers recover faint traditional memories.
2.4.4.2. Archaeologist have tried to rebuild and rethink relationships.
2.4.4.3. Archaeologist employed and trained a term of locals
3. The Art World
3.1. Anthropology changing the ideology of art
3.1.1. Western ideology had a grip on art classification and institutions
3.1.2. Anthropology helped break free from the religious analysis as well as ero and ethnocentric concepts
3.1.3. Economic analysis freed from trappings of capitalism.
3.1.4. Errington (1998)
3.1.4.1. Art is defined by the value of its consumption.
3.1.4.2. Value applied to functionally useless objects.
3.1.4.3. Apply hierarchy to the process. good and bad art
3.1.5. Tom Gretton (1986)
3.1.5.1. Aesthetic values are culturally specific
3.1.5.2. Are can only be culturally specific. Artifacts are bound to the people.
3.1.5.3. Western concept of Art is a socially constructed catalog.
3.1.5.3.1. Based on non-utilitarian indulgence.
3.1.5.3.2. Skilled artist valued on set ideology of elite.
3.1.5.3.3. Socially elite patrons live vicariously hegemonic values
3.1.5.3.4. Subjective values created and forced on art forms
3.2. Reappraising art history
3.2.1. Class and classification
3.2.1.1. Elite ruling social class values permeate value system
3.2.1.2. Claim cultural superiority through possession of valuable art objects
3.2.1.3. High class taste is learned and upheld through art institutions
3.2.1.3.1. Pierre Bourdieu “Taste classifies…and classifies the classifier”
3.2.2. Gender Bias in the art world
3.2.2.1. men are authors of the most prestigious art and dominate the museum platform
3.2.2.2. women's art is considered as craft
3.2.2.3. 16th and 17th century saw womens art to be limited to flower painitings that do not require creativity
3.2.2.4. 18th century redefined these rolls
3.2.2.4.1. males dominated public areas
3.2.2.4.2. females dominated domestic areas
3.3. Art as collectibles
3.3.1. Influential collections
3.3.1.1. Permeant or temporary, they play a central role in displaying collections
3.3.1.2. Collection may include a certain popular style or famous artist
3.3.1.3. Famous art are co-opted by other art or artifacts giving them value
3.3.2. Business of exhibits
3.3.2.1. Metropolitan elite can invest in collectibles
3.3.2.2. Exhibits are places where art is bought, sold, and collected.
3.3.3. Consumer collecting
3.3.3.1. Collecting-the process of actively, selectively, and passionately acquiring and possessing things removed from ordinary use and perceived as part of a set of nonidentical objects or experiences.
3.3.3.2. develop intellectual values as contribution to humanity
4. The Exotic Primitive
4.1. Primitivism and primitive art
4.1.1. Colonial period led to a period of exploration and collection of “exotic” artifacts.
4.1.2. Primitivism developed during Atlantic slave trade and perpetuated by colonialism
4.1.3. 1897 The British conquered the kingdom of Benin
4.1.3.1. provoked and attack and looted the royal palace artifacts
4.1.3.2. British stereotyped Benin society as brutal, savage and superstitious peoples.
4.1.3.3. Local culture identified as crude and uncivilized
4.1.3.4. Degenerated from civilized society from Egypt or Portugal
4.1.4. Kuba, The Congo
4.1.4.1. 1909 - Hungarain Emil Torday collected and documented local culture
4.1.4.1.1. sent latrifacts back to the british museum and were seen as remarkable and exceedingly graceful
4.2. Adopting primitive art
4.2.1. Copying culture
4.2.1.1. 1900s Western artist dissatisfied and wanting to break free from European style, and form
4.2.1.2. Looked to africa and pacific islands
4.2.1.3. Artist convinced small societies represented unconstrained and unrepressed used style
4.2.2. From Primitive to tribal, describing the 1900s as primitivist movement
4.2.2.1. discovery” of tribal art.
4.2.2.2. “buried treasure”
4.2.2.3. Change in Western attitude of “tribal” art forms
4.2.2.4. Tribal art led humanity back to its origins
4.2.2.5. Modern Western culture owes a spiritual debt to tribal societies of Africa, Oceania, and Americas
4.2.2.5.1. Art-galleries can take mundane (hunting items) African objects and make them into art pieces
4.2.2.6. Displayed non-Western artist using Western art tradition.
4.3. Authenticating primitive art
4.3.1. Certain fetishes and fertility symbols became popular, focusing
4.3.2. ethnographic present - a description of a culture as it was prior to contact with colonial nations..
4.3.3. Authentic pieces focused of tribal art focused on what the West wanted
4.3.4. Exotic art became commodities and were sold on international markets where people who produced pieces did not see pieces as art.
4.4. exhibits of exotic artifacts
4.4.1. Museum used temporary exhibits with cultural explanation of art forms.
4.4.2. William Fagg exhibitions
4.4.2.1. Displayed objects in cultural context
4.4.2.2. Built replicas and structures depicting original enviroment
4.4.2.3. Had activities for schools
4.4.2.4. Focused on cultural and historical issues
4.4.2.5. Ran by people from the culture
4.4.3. The exhibits represented a shift of attitude of own civilization.
5. Marketing Exotic
5.1. Exporting local artifacts
5.1.1. Indigenous groups have been systemically marginalized.
5.1.1.1. Reservation life
5.1.1.2. Boarding schools
5.1.1.3. Cultural suppression
5.1.1.4. Forced assimilation
5.1.2. Haida of Queen Charlotte Islands
5.1.2.1. Artifacts traditionally based on creatures of the land and sea were traded with visiting eurpeans
5.1.2.1.1. Fur trade led to permeant settlement
5.1.2.1.2. Increased trade depleted furs.
5.1.2.1.3. Nothing to trade led to trade of other materials
5.1.2.2. Carved argillite
5.1.2.3. Tobacco pipes
5.1.2.4. Human figurines
5.1.2.5. European images
5.2. Molly Lee identified 3 types of collectable art
5.2.1. Tourist- Purchased limited quantity of curiosity “Authentic” Souvenirs Objects tangible evidence of experience.
5.2.2. Basket collector- Based on collecting native american baskets.
5.2.3. Special access collectors- middleclass men who worked with native americans as missionaries teachers or goverment officlas would keep artifacts as trophies
5.3. West Africa
5.3.1. Hausa dealers from Ivory Coast
5.3.2. Sold for the sake of selling objects and earning a living.
5.3.3. Understood creation of exotic art as for employment:
5.3.4. Muslim faith did not connect to artistic expression.
5.3.5. Nature>>>>Art Creator>>>>sold to connoisseurs>>>>Sold on the market
5.4. Reconsidering authenticity
5.4.1. 1970s distinctions have been made of authentic According to most experts, exports are the least authentic
5.4.2. Demands developed novel styles that would not otherwise exists.
5.4.3. Arts of the fourth world - artifacts of colonized minority peoples within countries that might be called, First, Second, of Third World.
5.4.4. Art forms from “Ethnic” markets has become big business
5.5. Market contribution
5.5.1. Sepik, Papua New Guinea
5.5.1.1. Producing artifacts became part of national agenda.
5.5.1.2. Produced and displayed pieces for tourist ships.
5.5.1.3. Masks used naturalistic forms gathered from various partner communities
5.5.1.4. Used iconography representing clan identity
5.5.1.5. Artifacts for sell imitated masks with ritual purpose, but never officially used for spirits.
5.5.2. Zimbabwe
5.5.2.1. Exotic and and Class -Mystique of indigenous art forms in high demand by metropolitan elite
5.5.2.2. Frank McEwen
5.5.2.2.1. Introduced stone sculpturing to Shona
5.5.2.2.2. Used their skills to produce unique —Shona influenced—sculpture.
5.5.2.2.3. Sold to elite never to Shona people
5.5.3. Solomon Islands
5.5.3.1. Development of woodcarving developed by Christian missions.
5.5.3.2. American serviceman created demand for souvenirs.
5.5.3.3. Many live at the periphery of globalization.
5.5.3.4. Connection to art forms as identity processed through colonial and global systems.