Isbn: 9780520212114 - the death of authentic primitive art: and other tales of progress (29 resultados)

Condición: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condición: Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condición: Good. 1st Edition. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condición: Very Good. 1st Edition. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Condición: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condición: Good. Argues that Primitive Art was invented as a different type of art object at the beginning of the twentieth century but that at the century's end, it has died a double but contradictory death. This book shows how the idea of primitive can be used in the interests of promoting nationalism and economic development.…

Paperback. Condición: Very Good. Argues that Primitive Art was invented as a different type of art object at the beginning of the twentieth century but that at the century's end, it has died a double but contradictory death. This book shows how the idea of primitive can be used in the interests of promoting nationalism and economic development.…

Paperback. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Condición: Good. No Jacket. Some light rubbing and edgewear, some discoloration. Text has yellowed slightly and has some markings throughout. Size: 8vo - over 7¾" - 9¾" tall.

1998. Anthropological theory and method. University of California Press. Very good - near fine paperback 309p.

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condición: Good. 1st Edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.…

Condición: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Soft cover. Condición: Fair. 1st Edition. 308pp paperback, ex-library in laminated clear covers, usual stamps and labels.

Condición: new.

Soft cover. Condición: Very Good. 1st Edition. 228pp paperback, very good.

Trade Paperback. Condición: Like New. 309 pp. Clean, fresh copy with very light shelf wear, crisp pages and clean text. Ivory Coast Figure (Cover Illustration) (ilustrador).

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condición: New. In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of 'primitive art', bringing about a second 'death'. Errington argues that the construction of the primitive in the nineteenth and twentieth centuries (and the kinds of objects chosen to exemplify it) must be understood as a product of discourses of progress - from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market.In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia - a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished) - to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development. Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies.…

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New. In English.

Soft cover. Condición: Fine. 1st Edition. 1st ed., 1st printing ; xxvii, 309 pages : illustrations ; 24 cm ; ISBN 9780520210950, 9780520212114, 0520210956, 0520212118 ; OCLC 38930550 ; LCCN 98017204 ; LOC No N72.S6 E77 1998 ; Dewey 709/.01/1 ; color photographic paper wrappers ; Anthropologist Shelly Errington argues that Primitive Art, invented as a new type of art object at the beginning of the 20th century, has died. Errington's dissection of discourses about progress and primitivism is a lively introduction to anthropological studies of art institutions and a dramatic contribution to the growing field of cultural studies. 106 illustrations ; Contents: Two centuries of progress -- The death of authentic primitive art -- Three ways to tell the history of (primitive) art -- What became authentic primitive art? -- The universality of art as a self-fulfilling prophecy -- The death of authentic primitive art -- Authenticity, primitivism, and art revisited -- And other tales of progress: nationalism, modernization, development -- Nationalizing the pre-Columbian past in Mexico and the United States -- The cosmic theme park of the Javanese -- Making progress on Borobudur ; Shelly Errington is Professor of Anthropology at the University of California, Santa Cruz, author of Meaning and Power in a Southeast Asian Realm (1989), and coeditor of Power and Difference: Gender in Island Southeast Asia (1990). ; In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of "primitive art," bringing about a second "death." Errington argues that the construction of the primitive in the nineteenth and twentieth centuries (and the kinds of objects chosen to exemplify it) must be understood as a product of discourses of progress--from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market. In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia--a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished)--to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development.Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies. ; FINE. Book.…

1st paperback edition. XXVIII, 310 PP with 82 figures (cartoons, drawings, sketches, plans, photos). Stiff covers, pictorial front. Fine. 22.8 x 15.2.

Paperback. Condición: Brand New. 1st edition. 335 pages. 9.25x6.25x1.00 inches. In Stock.

paperback. Condición: New. In shrink wrap. Looks like an interesting title.

Paperback. Condición: New. In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of 'primitive art', bringing about a second 'death'. Errington argues that the construction of the primitive in the nineteenth and twentieth centuries (and the kinds of objects chosen to exemplify it) must be understood as a product of discourses of progress - from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market.In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia - a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished) - to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development. Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies.…

Kartoniert / Broschiert. Condición: New. Argues that Primitive Art was invented as a different type of art object at the beginning of the twentieth century but that at the century s end, it has died a double but contradictory death. This book shows how the idea of primitive can be used in the inte.

Taschenbuch. Condición: Neu. Neuware - In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of 'primitive art,' bringing about a second 'death.'Errington argues that the construction of the primitive in the nineteenth and twentieth centuries (and the kinds of objects chosen to exemplify it) must be understood as a product of discourses of progress--from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market. In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia--a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished)--to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development.Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies.…