Introduction To The Arts Of Africa Oceania Native America

UCLA Art History course materials for Art 55A.

By focusing on the original scholarly contributions, rather than secondary description, this reader in tribal arts exposes the reader to the best original scholarship of 29 noted scholars in anthropology and art history. Each scholarly essay is well-illustrated, often with original field photographs as well as museum objects. For artists, art historians, sociologists, and all those interested in the arts of the fourth world.

This introduction to the art of tribal peoples of North America, Africa, and the South Pacific does not briefly cover the hundreds of artistic traditions in these three vast areas but rather studies in depth thirty-six art styles within all three areas using the methods of art history, including stylistic analysis and iconographic interpretation. Emphasis is on the art in cultural context and as a system of visual communication within each tribal area. Where appropriate for a more complete understanding of the art, data from archaeology, ethnology, linguistics, religion, and other humanistic disciplines are included.Among the peoples and cultures whose art is studied are the Haida, Kwakiutl, and Tlingit; the Hohokam and Mongollon, the Anasazi and Hopi; the Dogon and Bamana of Mali; the Asante of Ghana; the Benin, Yoruba, and Ibo of Nigeria; the Fan, the Bamum, and the Kuba of Central Africa; Australian aboriginal and Island New Guinea art; Island Melanesia art; central and eastern Polynesia; Hawaii and the Maori in Marginal Polynesia.The format of the text and selected illustrations is based on seventeen years of teaching African, North American Indian, and South Pacific art to undergraduate and graduate students at Herbert H. Lehman College (CUNY), New York University, and Columbia University. The book is intended for art history and anthropology students and the interested lay reader or collector. The detailed notes at the end of the book are for further study, research, and understanding of the tribal art style under discussion.

This lavishly produced voulume is the first reference work to focus on the symbols, meaning, and significance of art in native, or indigenous, cultures.

The concept of art as being purely for aesthetic contemplation, that is typical of industrial civilization, is not a very useful one for cross-cultural studies. The majority of the art forms that we see in museums and art books that have come from Native America or Africa or Oceania, are objects that were once part of a larger artistic whole from which they have been extracted. We need to try to piece together and imagine the artistic context as well as the cultural one if we are to attain a deeper sense of the import than the piece available to use provides. Even then, it is almost impossible to define the artistic whole. Perhaps we would do better to regard these pieces as fragments from the lifestyle of a people.