| Preface |
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ix | |
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Exploring World Art: An Introduction |
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1 | (38) |
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Section One Theoretical Orientations to the Subject of World Art |
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39 | (44) |
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Gauguin, Negrin, and the Art of Anthropology: Reflections on the Construction of Art Worlds in a Costa Rican Port City |
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43 | (26) |
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Anthropologies of Art: Three Approaches |
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69 | (14) |
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Section Two Traditional and Modern Pathways for Contemporary African Art |
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83 | (48) |
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Circuits of African Art/Paths of Wood: Exploring an Anthropological Trail |
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87 | (24) |
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Tourism, Aesthetics, and Global Flows along the Swahili Coast |
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111 | (20) |
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Section Three Creating New Traditions in Contemporary Art |
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131 | (42) |
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``Frame that Rug!'': Narratives of Zapotec Textiles as Art and Ethnic Commodity in the Global Marketplace |
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135 | (22) |
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Contending Indian Art-Worlds: Patta Chitra Paintings in Orissa |
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157 | (16) |
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Section Four Engaging Tradition in Contemporary Aboriginal Art |
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173 | (46) |
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The Unsettled Business of Tradition, Indigenous Being, and Acrylic Painting |
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177 | (24) |
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The Postcolonial Virtue of Aboriginal Art from Bathurst and Melville Islands |
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201 | (18) |
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Section Five Moving Away from Tradition in Contemporary Papua New Guinea Art |
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219 | (66) |
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Gender, Location, and Tradition: A Comparison of Two Papua New Guinean Contemporary Artists |
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225 | (20) |
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Jacquelyn A. Lewis-Harris |
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The Disputed Value of Contemporary Papua New Guinea Artists and Their Work |
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245 | (26) |
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High Art as Tourist Art, Tourist Art as High Art: Comparing the New Guinea Sculpture Garden at Stanford University and Sepik River Tourist Art |
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271 | (14) |
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Section Six New Uses for Native American Art |
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285 | (52) |
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``Do We Still Have No Word for Art?'': A Contemporary Mohawk Question |
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291 | (26) |
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Commodities of Authenticity: When Native People Consume Their Own ``Tourist Art'' |
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317 | (20) |
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Section Seven Curatorial Authority |
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337 | (62) |
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Living with the Ancestors in an International Contemporary Art World |
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343 | (14) |
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Curatorial Authority and Postmodern Representations of African Art |
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357 | (14) |
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Native American Art in a Global Context: Politicization as a Form of Aesthetic Response |
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371 | (18) |
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The Authenticity of Contemporary World Art: Afterword |
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389 | (10) |
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| Contributors |
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399 | |
