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This early work by Franz Boas was originally published in 1927 and we are now republishing it with a brand new introductory biography. 'Primitive Art' is an attempt to give an analytical description of the fundamental traits of primitive art. Franz Boas was born on July 9th 1958, in Minden, Germany. Boas enrolled at the University at Kiel as an undergraduate in Physics. He completed his degree with a dissertation on the optical properties of water, before continuing his studies and receiving his doctorate in 1881. He became a professor of Anthropology at Columbia University in 1899 and founded the first Ph.D program in anthropology in America. He was also a leading figure in the creation of the American Anthropological Association
AcknowledgmentsIntroduction1. The Mystique of Connoisseurship2. The Universality Principle3. The Night Side of Man4. Anonymity and Timelessness5. Power Plays6. Objets d'Art and Ethnographic Artifacts7. From Signature to Pedigree8. A Case in PointAfterwordNotesReferences CitedIllustration Credits Copyright © Libri GmbH. All rights reserved.
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.
In the early 20th-century, European avant-garde artists began to look beyond the accepted canons of Western art in a search for new sources of inspiration. "Primitive" art, drawings by children, the art of the insane, and graffiti all opened up new avenues for experimentation and artistic creation. At the end of World War II, leading French artist Jean Dubuffet became interested in the works being produced by psychiatric patients and by other social outcasts. In 1948 he founded the Compagnie de l'Art Brut to document the collections he had begun, and in 1976 the collection moved to its permanent home in Lausanne. This critically acclaimed book traces the history of the concept of Art Brut, a movement which has had a profound effect on artistic and social history. The account is completed by biographical notes on the featured artists and an extensive bibliography. This revised edition contains up-to-date information about modern exponents of Art Brut and the collection itself, including two new images of artist Judith Scott's work. All the works reproduced, most from the collection created by Dubuffet, have retained their subversive freedom, which continues to fascinate and inspire artists and collectors today.
Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism. In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde. Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.
"This is a much needed, important collection-a goldmine of sources for scholars and students. The texts articulate the key Primitivist aesthetic discourses of the period, offering crucial insight into the complex and always changing nexus between culture, politics, and representation. Because of the breadth of the materials covered and the controversies they raise, this anthology is one of the all too rare volumes that not only will provide reference materials for years to come but also will feature centrally in classroom discussions."—Suzanne Preston Blier, author of African Vodun: Art, Psychology, and Power "For almost a century art historians have fretted about the notion of primitivism in the arts. This comprehensive-in both senses of the word-anthology is a peerless source of the history of responses to works categorized as 'primitive.' In its range, the book touches upon all the troubling questions-formal, anthropological, political, historical-that have bedeviled the study of the arts of Oceania, Africa, and North and South America, and provides the grounds, at last, for intelligent pursuit of keener distinctions. I regard this book as a superb contribution to the study of Modern art; in fact, indispensable."—Dore Ashton, author of Noguchi East and West "An extraordinarily useful and complete collection of primary documents, many translated for the first time into English, and almost all unlikely to be encountered elsewhere without serious effort. Its five sections, each with a lively and scholarly introduction, reveal the diverse views of artists and writers on primitive art from Matisse, Picasso, and Fry to many far less known and sometimes surprising figures. The book also uncovers the politics and aesthetics of the major museum exhibitions that gained acceptance for art that had been both reviled and mythologized. Recent texts included are all germane. This book will be invaluable for any college course on the topic."—Shelly Errington, author of The Death of Authentic Primitive Art and Other Tales of Progress "An exceptionally valuable anthology of seventy documents--most heretofore unavailable in English--on the ongoing controversies surrounding Primitivism and Modern art. Insightfully chosen and annotated, the collection is brilliantly introduced by Jack Flam's essay on the historical progression, contexts, and cultural complexities of more than one hundred years' ideas about Primitivism. Rich, timely, illuminating."—Herbert M. Cole, author of Icons: Ideals and Power in the Art of Africa
"Brings together the many insights of cultural anthropologists and art historians, treating art as both a visual and a cultural phenomenon"--
Biographical poems on artist Horace H. Pippin, who left an invaluable record of African American life during World War I.