Journal articles: 'Museum of Primitive Art'

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Newton, Douglas. "The Museum of Primitive Art." African Arts 18, no. 3 (May 1985): 8. http://dx.doi.org/10.2307/3336346.

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Message, Kylie, Eleanor Foster, Joanna Cobley, Shih Chang, John Reeve, Grace Gassin, Nadia Gush, Esther McNaughton, Ira Jacknis, and Siobhan Campbell. "Book Review Essays and Reviews." Museum Worlds 7, no. 1 (July 1, 2019): 292–317. http://dx.doi.org/10.3167/armw.2019.070117.

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Book Review EssaysMuseum Activism. Robert R. Janes and Richard Sandell, eds. New York: Routledge, 2019.New Conversations about Safeguarding the Future: A Review of Four Books. - A Future in Ruins: UNESCO, World Heritage, and the Dream of Peace. Lynn Meskell. New York: Oxford University Press, 2018. - Keeping Their Marbles: How the Treasures of the Past Ended Up in Museums—And Why They Should Stay There. Tiffany Jenkins. Oxford: Oxford University Press, 2016. - World Heritage and Sustainable Development: New Directions in World Heritage Management. Peter Bille Larsen and William Logan, eds. New York: Routledge, 2018. - Safeguarding Intangible Heritage: Practices and Politics. Natsuko Akagawa and Laurajane Smith, eds. New York: Routledge, 2019. Book ReviewsThe Filipino Primitive: Accumulation and Resistance in the American Museum. Sarita Echavez See. New York: New York University Press, 2017.The Art of Being a World Culture Museum: Futures and Lifeways of Ethnographic Museums in Contemporary Europe. Barbara Plankensteiner, ed. Berlin: Kerber Verlag, 2018.China in Australasia: Cultural Diplomacy and Chinese Arts since the Cold War. James Beattie, Richard Bullen, and Maria Galikowski. London: Routledge, 2019.Women and Museums, 1850–1914: Modernity and the Gendering of Knowledge. Kate Hill. Manchester: Manchester University Press, 2016.Rethinking Research in the Art Museum. Emily Pringle. New York: Routledge, 2019.A Natural History of Beer. Rob DeSalle and Ian Tattersall. New Haven, CT: Yale University Press, 2019.Fabricating Power with Balinese Textiles: An Anthropological Evaluation of Balinese Textiles in the Mead-Bateson Collection. Urmila Mohan. Chicago: University of Chicago Press, 2018.

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Sekulić, Nada. "Ukradena autentičnost: recepcija primitivne umetnosti i kulture na reprezentativnim međunarodnim sajmovima krajem XIX i početkom XX veka." Issues in Ethnology and Anthropology 11, no. 3 (November 2, 2016): 897. http://dx.doi.org/10.21301/eap.v11i3.12.

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The colonial expansion has marked the beginning of the collecting of the art objects from the conquered countries and regions. Spanish conquistadors transported various cultural artifacts of Aztecs and Incas in Europe, where they became curiosities at the chambers of the royalty. With further geographical discoveries, through trade routes and wars, the number of these items considerably increased and in the 18th century the first museums were established where they were exposed for public exhibitions. At a time when there was no photographs nor film, for people who were not able to travel, museums and public exhibitions became the main source of information about primitive cultures, but also the main source for the construction of stereotypes about them. The most important among them were the great world exhibition fairs of technology and art. They represented the foundation of the global (imperialist) integration and vision of the world. The primitive cultures and various conflicting aspects of imperialist conquest were deleted by creating the image of their timelessness and backwardness, as well as of their exotic beauty and authenticity. Primitive culture and imperialism were framed in the common picture of their mutual harmonious complementarity. The authenticity of the cultural artifacts of primitive cultures together with the entire nations and their resources have been colonized and exploited giving way to the ideology of modernism and the development of capitalism.

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Grognet, Fabrice. "Sally Price, Paris Primitive. Jacques Chirac’s Museum on the Quai Branly." L'Homme, no. 189 (January 1, 2009): 280–82. http://dx.doi.org/10.4000/lhomme.28780.

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Straus, Lawrence Guy. "Paris Primitive: Jacques Chirac's Museum on the Quai Branly. Sally Price." Journal of Anthropological Research 64, no. 4 (December 2008): 597–99. http://dx.doi.org/10.1086/jar.64.4.20371312.

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Fyfe, Gordon. "Reproductions, cultural capital and museums: aspects of the culture of copies." Museum and Society 2, no. 1 (March 19, 2015): 47–67. http://dx.doi.org/10.29311/mas.v2i1.2783.

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The concept of cultural capital is well known in museum studies from pioneering visitor research conducted and reported by Pierre Bourdieu in the 1960s. This paper examines the concept in the light of the criticism that, whilst it illuminates the dynamics of cultural consumption and inequality in advanced capitalist societies, its socio-genesis is less well understood. It is argued that the historical sociology of fine art reproduction provides an opportunity to (i) enlarge our understanding of its formation and (ii) to explore the cultural character of the copy and the sociology of the body. The paper draws on Marx’s concept of primitive accumulation, on Connerton’s distinction between incorporated and inscribing practices and on Bourdieu’s distinction between three states of cultural capital.

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Dominic Thomas. "Paris Primitive: Jacques Chirac's Museum on the Quai Branly (review)." French Forum 33, no. 1-2 (2008): 288–92. http://dx.doi.org/10.1353/frf.0.0016.

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Myres, J. N. L., and Philip H. Dixon. "A Nineteenth-Century Grubenhaus on Bucklebury Common, Berkshire." Antiquaries Journal 68, no. 1 (March 1988): 115–22. http://dx.doi.org/10.1017/s0003581500022526.

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The Museum of English Rural Life at Reading University was for some years interested in a hut on Bucklebury Common, Berkshire, which was occupied as a workshop by the Lailey family who used it for the manufacture of wooden bowls which found a ready market. When the last of these craftsmen bowlturners died without male heirs in 1958 and the workshop was likely to be demolished, the Museum took steps both to secure one of the primitive pole-lathes used by the Laileys in their craft, which is now displayed in the Museum, and also to make a photographic and measured record of the hut itself and its contents. From this record, which the Museum has kindly allowed us to use in preparing this article, it is evident that the hut itself had been a structure of considerable architectural interest. Part of it had a deeply sunken floor which had carried the pole-lathes, and was similar in size and shape to an Anglo- Saxon Grubenhaus of the pagan period. Although the walls and roof were clearly of later date, they could well have taken the place of much earlier predecessors. The purpose of this article is thus to draw attention to the continued use into the present century not only of the bowltumer's primitive craft at Bucklebury but of its housing in a hut which probably began as an Anglo-Saxon Grubenhaus. As such its structure and furnishing may throw light on features that have sometimes puzzled students of excavated Anglo-Saxon Grubenhäuser elsewhere.

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Rincón Borrego, Iván Israel. "Sverre Fehn y la arquitectura primitiva de Marruecos." VLC arquitectura. Research Journal 6, no. 1 (April 30, 2019): 97. http://dx.doi.org/10.4995/vlc.2019.10663.

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<p>Norwegian architect Sverre Fehn took a trip to Morocco in 1951 which is one of the most remarkable steps of his beginnings as an architect, but also one of the most unknown. Until now, nearing the tenth anniversary of his death in February 2009, research on the Nordic author has ignored the need to study the journey in depth. This has been treated on many occasions just as a confessed starting point in his career. This paper rebuilds, organizes and analyses the trip using the original notebooks that Sverre Fehn brought with him on his return, three and not one, as has always been claimed, which were left to the National Museum of Art, Architecture and Design in Norway. The researcher explores the traveller’s thoughts through the places and constructions encoded in his drawings. Following Jorn Utzon’s advice, Fehn recognized the inspiring dimension that primitive architecture had for the masters of the Modern Movement and, therefore, for their own modern cultural heritage.</p>

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Khasianova, Leila. "Zapiski Ahmeda ibn Fadlana i Pogrzeb Rusa w Bułgarze Henryka Siemiradzkiego." Slavica Wratislaviensia 162 (April 18, 2016): 49–58. http://dx.doi.org/10.19195/0137-1150.162.4.

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Notes by Ahmad ibn Fadlan and Obsequies of the Noble Rus in Bulgar by H. Siemiradsky In the book Historical Sketches of Folk Literature in Art F.I. Buslaev developed the idea that „getting closer to their primitive source, the elements of literature and art enter each other; and sometimes the author becomes an illustrator of his manuscript; and so a literary historian often through miniatures decorating the manuscript understands the idea of the text before it opens in its lines”. The validity of these lines becomes apparent when we compare the passage from the Notes by ibn Fadlan to Henryk Siemiradzki’s Obsequies of the Noble Rus in Bulgar, located in the State Historical Museum in Moscow. Записки Ахмеда ибн Фадлана и Похороны знатного руса в Булгаре Г.И. Семирадского В книге Исторические очерки народной словесности в искусстве, посвященной этой теме, Ф.И. Буслаев развил мысль о том, что «чем ближе к своему первобытному источнику, тем сплошнее друг в друга входят элементы литературные и художественные; и как писец, а иногда и автор, был вместе и иллюминатором своей рукописи, так и историк литературы очень часто в миниатюрах, которыми украшена рукопись, дочитывает до конца мысль пи- сания, не вполне выраженную в строках». Справедливость этих строк становится очевид- ной, если сравнить отрывок из Записок ибн Фадлана с произведением Г.И. Семирадского Погребение знатного руса в Булгаре, которое находится в Государственном Историческом музее в Москве.

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Polanski, Zhanna. "THE TRADITIONS OF JAPANESE CERAMICS." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-133-145.

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The article focuses on an important topic - the traditions of Japanese ceramics. Its relevance lies in the importance of solving the problem of identifying artworks: whether they are fake or original. Incorrect attribution of an item can lead to severe legal and material consequences and significantly affect the reputation. Differences between the terms “a copy” and “a forgery” with the assessment of positive and negative aspects of falsification are revealed. Highly qualified specialists with certificates and diplomas are required to identify and attribute art. The article shows the main requirements they must have. It also highlights and covers the characteristics and central problem of Western art, describes the ideology of Eurocentrism, according to which Europe, or the West, is the highest stage of human civilization; the rest of the world is considered primitive and undeveloped. A vivid example of an error in identifying a work of art by the Getty Museum - the sculpture Head with Horns and several cases of creating grandiose first-class forgeries in the art of Japanese ceramics are presented in the article. The works of such artists as Kato Tokuro, a ceramic artist whose works have won the highest artistic award in Japan and are widely recognized among collectors and curators of the West, Kagami Shukai, and Kato Koju have been studied. The article describes the Setoceramic tradition and its significance for common cultural art. It was created by the great Kato Shirozaemon and got its name from the name of the city in Japan, famous for its pottery. The article shows the importance of traditional methods in Japanese ceramic art history. Hence the desire of masters to follow ancient patterns and techniques. The article also describes the features and reveals the differences between traditional and Studio ceramics. The characteristics of the Asian approach, which aims to reproduce cultural values in an unchanged form, parallel with the development of progress in other areas, are studied. The article’s main task is to teach how to detect an obvious forgery by analyzing genuine ceramic products’ characteristic features. For this purpose, significant analysis of the distinctive features of authentic ceramic products is given. Several techniques and methods for determining the authenticity of the exhibit are presented.

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Korom, Frank J. "The Death of Authentic Primitive Art and Other Tales of Progress, and: Destination Culture: Tourism, Museums, and Heritage (review)." Journal of American Folklore 114, no. 451 (2001): 98–101. http://dx.doi.org/10.1353/jaf.2001.0069.

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Turner, Christy G. "A Second Drilled Tooth from Prehistoric Western North America." American Antiquity 69, no. 2 (April 2004): 356–60. http://dx.doi.org/10.2307/4128425.

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The burial of a young adult woman with a drilled molar tooth was excavated in 1965 in northern Arizona (Museum of Northern Arizona NA9099.B5; Pueblo IV, A.D. 1300–1600). The drilling angle and location suggest that the therapeutic or palliative procedure was done while the woman was alive, and probably in pain because the drilled hole occurred at the bottom of a large necrotic cavity involving about one quarter of the occlusal surface. The drilled hole exited at the crown-root junction near a small alveolar buccal abscess. With painful and unhealthy dental caries on the rise as dependency on agriculture increased through time, it is suggested that this case and one other mark the beginning practice of primitive technical dentistry in prehistoric western North America.

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Kumari, Kanchan. "SPIRITUAL HAPPINESS IN MALWA MINIATURE PAINTINGS STYLE." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (September 23, 2021): 34–47. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.28.

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English - All the arts are result of human nature & Beauty. one of the ancient primitive art and the cultured art and on the other hand, the development of folk art takes place. Folk art often consists of religious narratives, religious traditions, religious symbols and a part from fictional mythological events, social festivals and social beliefs are based on the background. Art is incomplete without each other in terms of folk art and classical art. These two forces are complementary to each other. This most of the paintings of our Indian miniature painting style are based on poems and literature. The miniature paintings of Malwa are for spiritual enjoyment, it is a reflection of its civilization and culture, in which The people there are not able to see the spirit of life. important various elements of Malwa miniature painting style of folk art For many subjects (literature) such as Kalpasutra, Ramayana, Mahabharata, Devi Mahatmaya, Bustan of Saadi are based on. that are spiritual and historical respectively. Pictures based on poems are made on enchantment/affairs (Radha Krishna) and Nayika Bhed respectively. In The subjects of the pictures are like- Rasik Priya, Barhamasa, Ragamala, Rasaveli. In which we get the elements of art, human figures, nature Illustrations are visible through colour, line, form, tone, texture, space in architectural marking. Bhakti and yoga in Indian Art along with this, special emphasis was placed on the expression of emotion, due to which the art of Malwa remained intact. Folk art traditions contained in Malwa Miniatures are still prevalent in villages and cities and in many museums. It is safe and people have unwavering faith in these folk traditions. Hindi - सम्पूर्ण कलाऐं मनुष्य की सौन्दर्यवृत्ति का परिणाम है। प्राचीन आदिम कला में से एक ओर सुसंस्कृत कला का और दूसरी ओर लोककला का विकास होता है। लोककला प्रायः धार्मिक आख्यानों, धार्मिक परम्पराओं, धार्मिक प्रतीकों एवं काल्पनिक पौराणिक प्रसंगों के अतिरिक्त सामाजिक त्यौहारों तथा सामाजिक मान्यताओं की पृष्ठभूमि पर आधारित होती है। लोककला और शास्त्रीय कला दोनों ही कला एक दूसरे के बिना अधूरी है। ये दोनों ही एक दूसरे के पूरक है। इसी सन्दर्भ में हमारी भारतीय लघु चित्रशैली के अधिकांश चित्रों के विषय काव्यों तथा साहित्य (ग्रन्थों) पर आधारित है। मालवा की लघु चित्रकला आध्यात्मिक आनन्द को लिए हुए है, उसकी सभ्यता और संस्कृति का वह प्रतिबिम्ब है, जिसमें वहाँ के जन जीवन की आत्मा के दर्शन होते हैं। मालवा लघुचित्र शैली के चित्र लोककला के विभिन्न महत्वपूर्ण तत्व लिए कई विषय (साहित्य) जैसे- कल्पसूत्र, रामायण, महाभारत, देवी महात्मय, बुस्तान आफ सादी पर आधारित है। जो क्रमशः आध्यात्मिक और ऐतिहासिक है। काव्यों पर आधारित चित्र क्रमशः प्रेमकथाओं तथा नायिका भेद पर बने है। इन चित्रों के विषय जैसे- रसिक प्रिया, बारहमासा, रागमाला, रसवेली है। जिसमें हमें लोककला के तत्व मनुष्याकृतियों, प्रकृति चित्रण, स्थापत्य अंकन में रंग, रेखा, रूप, तान, पोत, अन्तराल के द्वारा दृष्टिगोचर होते है। भारतीय कला में भक्ति एवं योग के साथ-साथ भाव की अभिव्यक्ति की ओर विशेष जोर दिया गया, जिसके कारण मालवा की कला भी अक्षुण बनी रही। मालवा लघुचित्रों में समाहित लोककला परम्परायें आज भी गाँव व शहरों में प्रचलित हैं और कई संग्रहालयों में सुरक्षित है तथा इन लोक परम्पराओं पर लोक मानस की अटूट श्रृद्धा है।

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Newton, Douglas, Evelyn A. J. Hall, John A. Friede, Julie Jones, Kate Ezra, and Heidi King. "Primitive Art." Metropolitan Museum of Art Bulletin 47, no. 2 (1989): 74. http://dx.doi.org/10.2307/3259904.

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Jones, Julie, and Kate Ezra. "Primitive Art." Recent Acquisitions, no. 1985/1986 (1985): 70. http://dx.doi.org/10.2307/1513694.

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Jones, Julie, and Kate Ezra. "Primitive Art." Recent Acquisitions, no. 1986/1987 (1986): 89. http://dx.doi.org/10.2307/1513713.

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Jones, Julie, Kate Ezra, Heidi King, and Nina Capistrano. "Primitive Art." Recent Acquisitions, no. 1987/1988 (1987): 78. http://dx.doi.org/10.2307/1513733.

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Blocker, H. Gene. "Is Primitive Art Art?" Journal of Aesthetic Education 25, no. 4 (1991): 87. http://dx.doi.org/10.2307/3332906.

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Torgovnick, Marianna. "Making Primitive Art High Art." Poetics Today 10, no. 2 (1989): 299. http://dx.doi.org/10.2307/1773026.

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Einstein, Carl. "On Primitive Art." October 105 (July 2003): 124. http://dx.doi.org/10.1162/016228703769684209.

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Sharma, Aparna. "Apichatpong Weerasethakul: Primitive New Museum, 19/05/11–3/07/2011. Curated by Massimiliano Gioni, Associate Director and Director of Exhibitions, with Gary Carrion-Murayari, Associate Curator. Exhibit address: www.newmuseum.org/exhibitions/439." Leonardo 45, no. 2 (April 2012): 167–69. http://dx.doi.org/10.1162/leon_r_00285.

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Rim, Dohyun. "Yeats and Primitive Art." Studies in English Language & Literature 35, no. 3 (August 2009): 91–111. http://dx.doi.org/10.21559/aellk.2009.35.3.006.

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kim hye kyujg and 임수은. "Illustration through Primitive Art." Journal of Korea Design Forum ll, no. 23 (May 2009): 291–300. http://dx.doi.org/10.21326/ksdt.2009..23.025.

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Hornshaw, B. L. "Primitive Art in Australia." Mankind 1, no. 1 (February 10, 2009): 21–22. http://dx.doi.org/10.1111/j.1835-9310.1931.tb00841.x.

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Cleland, J. B. "Primitive Medicine. The Healing Art in Primitive Society." Mankind 4, no. 10 (February 10, 2009): 395–411. http://dx.doi.org/10.1111/j.1835-9310.1953.tb00195.x.

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WESSELING, HENK. "Primitive art, early art or no art at all?" European Review 15, no. 03 (June 26, 2007): 271. http://dx.doi.org/10.1017/s1062798707000294.

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Wicks, Robert, and Sally Price. "Primitive Art in Civilized Places." Journal of Aesthetics and Art Criticism 50, no. 1 (1992): 74. http://dx.doi.org/10.2307/431075.

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Dutton, Denis, and H. Gene Blocker. "The Aesthetics of Primitive Art." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 321. http://dx.doi.org/10.2307/431360.

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MacClancy, Jeremy. "Primitive Thinking About Sophisticated Art." Anthropology Today 6, no. 4 (August 1990): 1. http://dx.doi.org/10.2307/3032732.

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Ottenberg, Simon, and Sally Price. "Primitive Art in Civilized Places." Anthropological Quarterly 65, no. 1 (January 1992): 50. http://dx.doi.org/10.2307/3318099.

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d' Azevedo, Warren L. "Whatever Happened to Primitive Art?" Anthropology Humanism Quarterly 16, no. 3 (September 1991): 102–7. http://dx.doi.org/10.1525/ahu.1991.16.3.102.

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Damian, Carol, and H. Gene Blocker. "The Aesthetics of Primitive Art." Hispanic American Historical Review 74, no. 4 (November 1994): 693. http://dx.doi.org/10.2307/2517497.

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Ravenhill, Philip L., and Sally Price. "Primitive Art in Civilized Places." African Arts 23, no. 4 (October 1990): 24. http://dx.doi.org/10.2307/3336938.

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Damian, Carol. "The Aesthetics of Primitive Art." Hispanic American Historical Review 74, no. 4 (November 1, 1994): 693–94. http://dx.doi.org/10.1215/00182168-74.4.693.

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Errington, Shelly. "What Became Authentic Primitive Art?" Cultural Anthropology 9, no. 2 (May 1994): 201–26. http://dx.doi.org/10.1525/can.1994.9.2.02a00030.

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Brodin, Michael, and Bernard M. Wagner. "The lure of primitive art." American Journal of Dermatopathology 7, no. 1 (February 1985): 89–92. http://dx.doi.org/10.1097/00000372-198502000-00019.

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Manning, P. "Primitive Art and Modern Times." Radical History Review 1985, no. 33 (January 1, 1985): 165–81. http://dx.doi.org/10.1215/01636545-1985-33-165.

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Pocius, Gerald L., and Sally Price. "Primitive Art in Civilized Places." Journal of American Folklore 105, no. 418 (1992): 488. http://dx.doi.org/10.2307/541631.

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Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

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van Deventer, Anriet. "The Pietersburg Art Museum." de arte 33, no. 57 (April 1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.

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Stylianou-Lambert, Theopisti. "Perceiving the art museum." Museum Management and Curatorship 24, no. 2 (June 2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.

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Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (April 2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

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Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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Hebb, Timothy Tore. "Kalmar Museum of Art." Architectural Design 78, no. 6 (November 2008): 134–35. http://dx.doi.org/10.1002/ad.791.

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Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (March 2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

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Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (April 2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

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Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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Morphy, Howard. "Heroes and Villains in the Capture of "Primitive Art"Primitive Art in Civilized Places.Sally Price." Current Anthropology 31, no. 4 (August 1990): 476–78. http://dx.doi.org/10.1086/203881.

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Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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Journal articles on the topic 'Museum of Primitive Art'

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