F Myers
Datos Biográficos
| ID | 26854 |
|---|---|
| NOMBRE | F Myers |
| NOMBRES | F |
| APELLIDO | Myers |
| FIRMA | MYERS F |
| AFILIACIONES | New York University |
| ORCID | 0000-0001-5910-2392 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 81 |
| TOTAL DE CITAS | 1095 |
| TOTAL COMO AUTOR | 81 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1979 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2024 |
| ÍNDICE H | 14 |
Some Properties Of Art And Culture
In the early 1970s, the Aboriginal artist and activist Wandjuk Marika asked the Australian government to investigate the unauthorized use of Yolngu clan designs on a variety of commodity forms, inaugurating a process of recognizing indigenous “copyright” for such designs. Copyright, famously, is known to involve a particular formulation of materiality, distinguishing idea from concrete expression, with only the latter being subject to ownership r…
Six Paintings from Papunya
Emotions and the Self A Theory of Personhood and Political Order Among Pintupi Aborigines
Between 1973 and 1975 I did field work with the Pintupi at a settlement called Yayayi, 180 miles west of Alice Springs. 1 At this time, the Pintupi were no longer living a traditional hunting-gathering life in the desert; for the past 40 years, the Pintupi have been drifting eastward from the Gibson Desert homeland, although the majority “came in” the 200–400 miles to European missions or settlements between 1954 and 1966. They were living, then,…
Madayin
Pintupi Country, Pintupi Self
Refiguring Art and Anthropology, For Whom? A conversation with George E. Marcus and Fred R. Myers
Chapter 4. Fathers and Sons, Trajectories of Self
Always Ask
This chapter addresses the relationship between boundaries, band organization, and territoriality through an individual oriented, processual approach to mobility, land use, and land ownership among Pintupi Aborigines of the Gibson Desert in Australia. Here territorial organization is not the division of people into discrete, mobile, permanent "bands." Rather, "bands" are fluctuating, on-the-ground residential groups that differ from "bands" as la…
The Work of Art
"The Work of Art: Rethinking the Elementary Forms of Religious Life." Material Religion, 15(4), pp. 512–513
The Anthropology of Art, After the End of Art
We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of "art" itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition "Primitivism" in 20th Century Art, the increasing crisis of representation, the influence of "postmodernism,"…
Afterword
In this overview, I reflect on how the essays of this issue exemplify a range of “entanglements” between emerging Indigenous practices and art theory. Further, I try to draw attention both to some earlier models of the experiments in the projects presented as well as to the specific history of exhibitions that has influenced the developments in the art world. Finally, following the ways in which the essays attend to the disruptions Indigenous pra…
Why do we read the classics
Debates on the epistemological, ethical, and historical constitution of the anthropological corpus are one of the reasons why anthropology has always thrived. Whether in terms of the complex relation between the production of anthropological knowledge and the political systems in which it takes place, or the proliferation of the language of "mutual constitution" as a way to bypass questions of causality, the question of the "suffering" vs. the "g…
Experiments in self-determination
Outstations, which dramatically increased in numbers in the 1970s, are small, decentralised and relatively permanent communities of kin established by Aboriginal people on land that has social, cultural or economic significance to them. In 2015 they yet again came under attack, this time as an expensive lifestyle choice that can no longer be supported by state governments. Yet outstations are the original, and most striking, manifestation of remo…
Burning the truck and holding the country
Previous article FreeBurning the truck and holding the country Pintupi forms of property and identityFred MyersFred MyersNew York University Search for more articles by this author New York UniversityPDFPDF PLUSFull TextEPUBMOBI Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreIf they are not given their shares, this denies their kinship. . . . A man's variegated re…
Cultural Anthropology, 1992-1996
Paintings, Publics, and Protocols
I am taking the occasion of the musée du quai Branly’s very recent exhibition of early Papunya paintings to talk today about the complex epistemological and political issues instantiated in the history of Papunya painting, raised by the contact between distinctive regimes of knowledge and value. It is partly a personal history and partly a story that appropriately enough, cannot be extricated from the web of relationships that define the represen…
Afterword
Disturbances in the field
This article considers the role of varied agents in the circulation of Papunya art across the relations between the Australian and the international art fields. My analysis follows an exhibition that took place at New York University's Grey Gallery in 2009, tracing in particular the international circulation of the highly valued 'early Papunya boards'. By focusing on the unsettled nature of Aboriginal art's circulation and the problem of producin…
Emplacement and Displacement
Aboriginal Australian acrylic paintings have long been considered representations of mythologically invested landscape. This understanding has been made problematic by recent writings on 'dwelling'. As common usage of the term 'landscape' seems to prioritize vision, to suggest that the acrylic paintings are landscapes only strengthens the suspicion that they are artifacts of displacement or distancing, rather than examples of the emplacement emph…
A history of Indigenous futures
The burgeoning of interventions by Indigenous artists and filmmakers into Australia's narrative of its history is addressed. An examination of the significance of this work in changing the cultural landscape of the continent and the paradox of the persistence, growth, and increasing circulation of such work in Indigenous cultural production, despite the alarming political turn against gains made by Indigenous Australians not only by right-wing po…
All around Australia and overseas
This paper discusses the themes and practices of Christian performance at the Western Desert Aboriginal community of Warlungurru in 1988,1 six years after the Pintupi return to their homelands (see Myers 1986; McMillan 1988; Nathan & Japanangka Leichleitner 1983) and the enthusiastic Christian revival—nightly Gospel singing, a ban on gambling—experienced in the first years of their return. My concern is with how a distinctively Lutheran focus in …
The Cultural Basis of Politics in Pintupi Life
A Broken Code
‘Primitivism’, Anthropology, and the Category of ‘Primitive Art’
the old Rocks area now incorporated into a tourist district, the sign on the gallery door reads ‘Aboriginal and Tribal Art Museum and Shop’. Inside, the objects range from New Guinea baskets and wood sculptures and Aboriginal boomerangs to bark and acrylic paintings. In 1994, Sotheby’s catalog for their 1994 auction of ‘Tribal Art ’ in New York changed the name it was using for its title, after protest from Indigenous Australians, from ‘Churinga …
A History of Aboriginal Futures
This article addresses the paradox of the persistence, growth, and increasing circulation of work in indigenous media and acrylic painting in Aboriginal Australia, despite the alarming political turn against gains made by indigenous Australians over the last decade, not only by right-wing politicians but intellectuals as well. Indigenous people in settler nation-states have faced a range of dilemmas in imagining their futures. In Australia, debat…
Pintupi Country, Pintupi Self
Painting Culture
Charley Tjaruru Tjungurrayi is to his side.Photo by Fred Myers.moves that were highly publicized (Lockwood 1964; Long 1964a Long , 1964b;; Thomson 1975) and equally controversial (Nathan and Leichleitner 1983; Long 1993).They were settled on government reserves, principally at Papunya in the Northern Territory, where approximately one thousand Aboriginal people of different language groups had come to live in a project of directed assimilation or…
Emotions and the Self
Culture-Making
This article presents and analyzes the construction and performance of Australian Aboriginal cultural practice, a sandpainting, at a major art exhibition at the Asia Society in New York. Drawing on an ethnography for which anthropological knowledge is part of the event itself, I examine the multiple constructions of Aboriginal identity in the performance. Such intercultural performances represent an important form of cultural production and const…
Representing Culture
Ontologies of the image and economies of exchange
In the early 1970s, the Aboriginal artist and activist Wandjuk Marika asked the Australian government to investigate the unauthorized use of Yolngu clan designs on a variety of commodity forms, inaugurating a process of recognizing Indigenous ownership of "copyright" in such designs. This treatment of design-and of culture-as a form of property involves understandings and practices of materiality and subjectivity that differ from those informing …
Reflections on a Meeting
Careful attention to the importance of language shows it to be a constitutive part of Pintupi social life. Accounting for the value and form of this activity leads to reconceptualizing the nature of politics and the polity in an Australian Aboriginal society. Implications of these structural features for the practical experience of a cultural subject are explored through comparison with other societies. The existence of systematic variation argue…
Locating Ethnographic Practice
This paper explores the contest over the meaning of the appearance of previously uncontacted Pintupi Aborigines in late 1984, arguing that an important site of Pintupi social action is transaction with the outside and their struggle to define their own framework of understanding. The event was interpreted by varying "audiences" in terms of their differing motivations and favored conventions for representing the Aborigine. I analyze my role as eth…
Critical Trends in the Study of Hunter-Gatherers
Hunter-gatherer were authorized in anthropology by Lee & De Vore's imaginative combination of evolutionary and ecological adaptationist concerns in the Man the Hunter volume (108). While recent reviews of hunter-gatherer studies (16, 23) have explored significant substantive issues, they have not considered the importance of the category itself in the formulation of anthropological research and theory. A major theme of this review is that the que…
The Politics of Representation
The Logic and Meaning of Anger Among Pintupi Aborigines
A History of Aboriginal Futures
This article addresses the paradox of the persistence, growth, and increasing circulation of work in indigenous media and acrylic painting in Aboriginal Australia, despite the alarming political turn against gains made by indigenous Australians over the last decade, not only by right-wing politicians but intellectuals as well. Indigenous people in settler nation-states have faced a range of dilemmas in imagining their futures. In Australia, debat…
The Cultural Basis of Politics in Pintupi Life
A Broken Code
Uncertain regard
This paper is a study of one component of the recent and contemporary circulation of cultural objects, the exhibition of Australian Aboriginal acrylic paintings in a French museum. The author argues that the recent emphases on 'appropriation ' and the primitivizing gaze ' are not sufficient to understand what happens when such objects circulate. To ask what does happen in circulation, at the sites of exhibition, is to ask how they are produced, i…
Beyond the Intentional Fallacy
Truth, beauty, and pintupi painting
This paper is concerned with the historical development of acrylic painting on canvas for commercial sale by Western Desert Aboriginal people. It is argued that Pintupi paintings should be understood within a special interplay between producer and consumer as one point (among many) of accommodation and/or interpretive struggle between an Aboriginal people and broader Western society. I begin by showing how Pintupi evaluate their productions in a …
Burning the truck and holding the country
Previous article FreeBurning the truck and holding the country Pintupi forms of property and identityFred MyersFred MyersNew York University Search for more articles by this author New York UniversityPDFPDF PLUSFull TextEPUBMOBI Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreIf they are not given their shares, this denies their kinship. . . . A man's variegated re…
Pintupi Country, Pintupi Self
Why do we read the classics
Debates on the epistemological, ethical, and historical constitution of the anthropological corpus are one of the reasons why anthropology has always thrived. Whether in terms of the complex relation between the production of anthropological knowledge and the political systems in which it takes place, or the proliferation of the language of "mutual constitution" as a way to bypass questions of causality, the question of the "suffering" vs. the "g…
We are not alone
From Ethnography to Metaphor
Cultural Anthropology, 1992-1996
Emplacement and Displacement
Aboriginal Australian acrylic paintings have long been considered representations of mythologically invested landscape. This understanding has been made problematic by recent writings on 'dwelling'. As common usage of the term 'landscape' seems to prioritize vision, to suggest that the acrylic paintings are landscapes only strengthens the suspicion that they are artifacts of displacement or distancing, rather than examples of the emplacement emph…
Unsettled Business
Acrylic painting in Australian Indigenous communities is one of the sites in which the conundrum of "tradition" is faced. While this painting has particularly challenged the conception of cultural traditions as bounded, its status has also been challenged in terms of authenticity; but I argue that a framework emphasizing culture-making is more productive. This article explores the scandals and rumors that have accompanied the movement of acrylic …
Emotions and the Self
Ethnology
Dangerous Words
This edited volume explores the dangerous intersection of language and politics in diverse Pacific societies. The contributors examine how speech acts, linguistic forms, and communicative practices can become imbued with power, shaping social relations, influencing political processes, and even inciting violence. The essays analyze a range of topics, including ritual language, oratory, political rhetoric, colonialism's impact on indigenous langua…
Daughters of the Dreaming
Part 1 Into the field. Part 2 Change and continuity: Reclaiming the past Fragments of the frontier The present - Warrabri The Jukurrpa Bosses not prisoners. Part 3 The sustaining ideals - land, love and well-being: The Kaytej Jilimi and Ring Place Yawulyu and land Health Love. Part 4 We follow one law: Sometimes we dance together Making young men. Part 5 The problem of women
Reflections on a Meeting
Careful attention to the importance of language shows it to be a constitutive part of Pintupi social life. Accounting for the value and form of this activity leads to reconceptualizing the nature of politics and the polity in an Australian Aboriginal society. Implications of these structural features for the practical experience of a cultural subject are explored through comparison with other societies. The existence of systematic variation argue…
The Politics of Representation
The Yolngu and Their Land
Cycle . 1986. A film by Robert Ascher
From Ethnography to Metaphor
Locating Ethnographic Practice
This paper explores the contest over the meaning of the appearance of previously uncontacted Pintupi Aborigines in late 1984, arguing that an important site of Pintupi social action is transaction with the outside and their struggle to define their own framework of understanding. The event was interpreted by varying "audiences" in terms of their differing motivations and favored conventions for representing the Aborigine. I analyze my role as eth…
Accounts of Human Nature
The Logic and Meaning of Anger Among Pintupi Aborigines
Critical Trends in the Study of Hunter-Gatherers
Hunter-gatherer were authorized in anthropology by Lee & De Vore's imaginative combination of evolutionary and ecological adaptationist concerns in the Man the Hunter volume (108). While recent reviews of hunter-gatherer studies (16, 23) have explored significant substantive issues, they have not considered the importance of the category itself in the formulation of anthropological research and theory. A major theme of this review is that the que…
Burning the Truck and Holding the Country
Candidates for Board Member-at-large State A
Pintupi Country, Pintupi Self
Truth, beauty, and pintupi painting
This paper is concerned with the historical development of acrylic painting on canvas for commercial sale by Western Desert Aboriginal people. It is argued that Pintupi paintings should be understood within a special interplay between producer and consumer as one point (among many) of accommodation and/or interpretive struggle between an Aboriginal people and broader Western society. I begin by showing how Pintupi evaluate their productions in a …
Future Directions for Cultural Anthropology
Representing Culture
Representing Culture
Djungguwan at Gurka'wuy . 1989. A film by Ian Dunlop
Beyond the Intentional Fallacy
Culture-Making
This article presents and analyzes the construction and performance of Australian Aboriginal cultural practice, a sandpainting, at a major art exhibition at the Asia Society in New York. Drawing on an ethnography for which anthropological knowledge is part of the event itself, I examine the multiple constructions of Aboriginal identity in the performance. Such intercultural performances represent an important form of cultural production and const…
Exhibit Review Essays
The Art of Memory: Holocaust Memorials in History. James E. Young, curator. The Art of Memory: Holocaust Memorials in History. James E. Young, ed
The traffic in culture
Fred R. Myers, Representing Culture: The Production of Discourse for Aboriginal Acylic Paintings Steve Feld, From Schizophonia to Schismogenesis:The Discourses and Practices of World Music and World Beat Lynn Hart, Three Walls: Regional Aesthetics and the International Art World Christopher B. Steiner, The Art of the Trade: On the Creation of Value and Authenticity in the African Art Market Molly H. Mullin, The Patronage of Difference: Making Ind…
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