Thesis (M.A.) - Carleton University, 2004. / Includes bibliographical references (p. 122-135). Also available in electronic format on the Internet.

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 127-137). Also available in electronic format on the Internet.

Thesis (M.A.)--Carleton University, 2001. / Includes bibliographical references (p. 125-129). Also available in electronic format on the Internet.

Thesis (M.A.)--Kent State University, 2009. / Title from PDF t.p. (viewed April 22, 2010). Advisor: Fred Smith. Keywords: Baby Jaguar; Chaak; Maya ceramic painting; Yum Cimil; Codex Vessels. Includes bibliographical references (p. 86-90).

Thesis (Ph. D.)--University of New Mexico, 2004. / "July 2004." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 172-178).

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed July 17, 2007. Includes bibliographical references (p. 93-101).

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Orientador: Vanessa Rosemary Lea / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T04:26:37Z (GMT). No. of bitstreams: 1 Goldstein_IlanaSeltzer_D.pdf: 33822936 bytes, checksum: 8ff07c0a6f6fc4a1b56064333a42db97 (MD5) Previous issue date: 2012 / Resumo: A arte contemporânea dos povos indígenas da Austrália é um fenômeno sui generis e ainda pouco conhecido no Brasil. Ancora-se em práticas e valores tradicionais, e, ao mesmo tempo, está inserida nas instituições museológicas e no mercado de arte. Na Austrália, sua valorização e institucionalização vêm ocorrendo, gradualmente, desde os anos 1970, graças a uma rede de apoio intersetorial e interétnica, abrangendo de órgãos públicos a cooperativas de artistas, de prêmios a leilões. O reconhecimento internacional se faz igualmente notar em iniciativas como a encomenda feita a oito aborígines australianos, em 2006, para que realizassem intervenções permanentes no edifício do Musée du Quai Branly, em Paris. Do ponto de vista formal, trata-se de uma produção muito diversificada, que pode ser dividida em movimentos ou estilos regionais, como a pintura "abstrata" de tinta acrílica sobre tela do Deserto Central, a pintura figurativa de pigmentos naturais sobre entrecasca de árvore de Arnhem Land e as aquarelas de paisagem de Hermansburg. O conteúdo remete quase sempre a feitos dos ancestrais e a fragmentos do Dreaming - uma espécie de tempo mítico comum a todas as etnias -, apesar de alguns pintores optarem por retratar cenas históricas trágicas, relativas ao encontro com os brancos. Destinada prioritariamente ao público externo, a pintura aborígine australiana é distribuída por uma rede composta por dezenas de centros de artes comunitários, dirigidos pelos próprios artistas, com o auxílio de agentes mediadores. Assim, as principais questões que nortearam a pesquisa foram: Como ocorreu a transformação de práticas tradicionais indígenas em arte contemporânea, na Austrália? Quais os papéis e os interesses das organizações indígenas e do governo, respectivamente, na montagem da chamada Indigenous art industry? Como operam as noções de autoria, autenticidade e propriedade intelectual, nesse contexto? Por que o mesmo país que massacrou seus nativos, até tão pouco tempo atrás, agora fomenta a produção artística indígena e incorpora elementos aborígines na construção da identidade nacional? Para buscar responder a tais questões, inspirei-me - principal, mas não exclusivamente - em autores e debates da antropologia da arte: Howard Morphy e seu questionamento das definições eurocêntricas de arte e artista; Alfred Gell e sua abordagem das agências envolvidas no processo artístico; Sally Price e sua discussão da postura primitivista no circuito euroamericano de museus e galerias; Sherry Errington e sua problematização da ideia de autenticidade, entre outros. Baseei-me também em pesquisa de campo, realizada junto a cerca de 30 organizações australianas, entre galerias comerciais, museus públicos, cooperativas indígenas e agências estatais, e ainda em alguns museus e galerias europeus. O objetivo era investigar os mecanismos, as relações e tensões inerentes a um sistema que, se por um lado oferece uma rara oportunidade de geração de renda e visibilidade para as comunidades indígenas australianas, por outro lado suscita impasses éticos e jurídicos de difícil resolução. Ao cabo do percurso, fica claro que a arte indígena da Austrália serve, hoje, como um raro locus de comunicação entre os povos nativos e a sociedade envolvente, uma plataforma sobre a qual se constrói - nem sempre harmonicamente - um produto intercultural de grande apelo estético, cujas exposição e comercialização acarretam impactos simbólicos, econômicos e políticos / Abstract: Contemporary Australian Indigenous art is a complex and sui generis phenomenon, still scarcely known in Brazil. While rooted in traditional cosmologies and practices, it has also found its place in museological institutions and in the art market. Since the seventies, its recognition as well as an institutionalization process have been gradually taking place in Australia, due to an intersectoral and interethnic support network, comprising from government agencies to artist cooperatives, from art awards to auctions. International prominence has been achieved through initiatives such as the commission of eight Australian Aboriginal artists, in 2006, to conduct permanent interventions in the building of the Musée du Quai Branly, in Paris. From the formal point of view, the works are much diversified. They can be classified according to artistic movements or regional styles, such as the "dot paintings" made with acrylic paint on canvas from the Central Desert, the figurative painting using natural ochres over the inner bark of trees from Arnhem Land; or the landscape watercolors from Hermansburg. Although some artists prefer to depict historical scenes from the tragic encounter with white people, the art motives are usually fragments of Dreaming - recounting the journey and actions of ancestral beings that created the natural world and the social rules. Intended mainly for an external public, Australian Aboriginal painting is distributed by a network composed of dozens of community art centers, managed by the artists themselves with the help of mediators. Thus, the main issues that guided this research were: How were traditional Indigenous practices transformed into contemporary art in Australia? Which were the interests and roles played by Indigenous organizations and the government, respectively, in the making of the so-called Indigenous art industry? How do the notions of authorship, authenticity and intellectual property operate in this context? Why does the same country that was responsible for the massacre of its natives, until recently, now foster Indigenous artistic work and incorporate Aboriginal cultural elements into the construction of its national identity? In order to answer these questions I sought inspiration - mainly but not exclusively - in authors and debates from the anthropology of art: Howard Morphy and his discussion on the Eurocentric definitions of art and artist; Alfred Gell and his form of addressing the various agencies involved in the artistic process; Sally Price and her debate of Western attitudes towards the "primitive" art in the Euro-American circuit of museums and galleries; Sherry Errington and her problematization of authenticity. I have also done fieldwork, conducted with approximately thirty Australian organizations, ranging from commercial galleries to public museums, Indigenous cooperatives and state agencies, as well as with certain European institutions. The purpose of this research was to investigate the mechanisms, relations and tensions inherent to a system that, on the one hand, offers a rare opportunity of income generation and visibility for Australian Indigenous communities, and, on the other hand, raises impasses of difficult resolution. In the end, it becomes clear that Indigenous art today stands as a privileged locus of communication between native people and the society at large, through which an intercultural product of great aesthetic appeal is construed (not necessarily in a harmonious manner), the exhibition and commercialization of which create symbolic, economic and political impact / Doutorado / Antropologia Social / Doutor em Antropologia Social

This study presents Aboriginal artists' perspectives on the study of Native art in the school curriculum. The case study is a naturalistic inquiry that employs ethnographic techniques to interview nine Saskatchewan artists, five females and four males. Overall, the artists agree on having Native art content in school programs, especially for Native students. All the artists believe that Aboriginal peoples should be involved in the definition and presentation of their art in the school curriculum. The artists show that content, and materials, may or may not be traditional. The artists prefer an observing and modelling approach to teaching bead and leather work, and to teaching drawing and painting. The male artists, primarily, support a research approach for studying the vast, diverse, and complex art of indigenous peoples. As well as learning about the art, the artists stress learning from the art including history, ecology, and about art from a non-Western perspective. The words, stories, and views of all the artists emphasize that art is a dynamic part of Aboriginal peoples' lives and cultures; one which they are willing to explain and share. Native art is a rich resource for school curriculum. It is a resource that must be and can be shaped by Aboriginal peoples. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

In the years immediately following World War II in Vancouver, native Northwest Coast images and objects were frequently made visible in the public spaces of the city, claimed and exchanged physically and symbolically in events involving both aboriginal and non-native participants. Like the political and social relations surrounding them, the meaning and purpose of these objects and images was, arguably, pliable and constantly shifting. The Totemland Pole, commissioned in 1950 by Vancouver's fledgling Totemland Society, and designed by local Kwakwaka'wakw carver Ellen Neel, was one such object-as-symbol. Numerous individuals and communities, aboriginal as well as non-native, were implicated in the object's production. Following anthropologist Anthony Cohen's work on social symbols in The Symbolic Construction of Community, I argue that while the symbol itself was held in common, its meaning varied with its participants' unique orientations to it. The differently motivated parties, specifically the work's creator, Ellen Neel, and its commissioners, the Totemland Society, attributed divergent meaning to the Totemland Pole simultaneously. As Cohen suggests, I propose that this difference did not lead to argument. Rather it was the form of the Totemland Pole itself, its impreciseness or "malleability," within the particular socio-political climate of its production, which enabled these divergent meanings to co-exist. In order to investigate ways in which the Totemland Pole was understood simultaneously as symbolically meaningful, this project attempts to map out the subject positions of and relations of power between Ellen Neel and the members of the Totemland Society, in relation to the particulars of the local historical moment. The forgotten details of the Totemland Commission and the lack of a legitimizing discourse of Neel's production, both fuelled by the gendered, class and race inflected politics of knowledge construction, have necessitated that the concept of absence be fundamental to my project. I have therefore approached the Totemland Commission from a number of surrounding institutional and social discourses, which form trajectories I see as intersecting at the site of the Totemland Pole. Any one of these trajectories may have been taken as the singular approach for the investigation of such an object. However, I wish to deny the autonomy normally granted these discursive fields, emphasizing instead the ways they are interdependent and may operate in tandem to enrich our understanding of an object which was the result of, and relevant to, shared histories. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate