Nick Stanley
Biographic Data
| ID | 160653 |
|---|---|
| NAME | Nick Stanley |
| GIVEN NAMES | Nick |
| FAMILY NAME | Stanley |
| SIGNATURE | STANLEY N |
| AFFILIATIONS | British Museum |
| ORCID | 0000-0002-8282-6695 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1989 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Hoarding New Guinea: Writing Colonial Ethnographic Collection Histories for Postcolonial Futures
Buyers, Connoisseurs and Others: Collecting Asmat Art
Asmat art is widely represented in Pacific collections in major museums despite the remoteness of the area and difficulty of communications. This article explores interactions between the Asmat people and some major collectors since the 1950s, and how different agencies came to promote Asmat carvings internationally. Three museums' practices are considered: the American Museum of Natural History, the Metropolitan Museum New York and the British M…
My Life and Art in Lake Sentani
I use this opportunity to review my own collection of artefacts from Lake Sentani where I grew up and to reflect upon the spiritual and personal significance that this art has for me. I show how the beliefs that I inherited can be seen in the carvings designs. I explore two items in particular, a carving of two brothers from Asei Island and a chief's staff. I also document how these items came into my possession and their meaning to me many years…
Can Museums Help Sustain Indigenous Identity?-Reflections from Melanesia
Can indigenous museums serve any useful purpose outside the traditional Western imperial setting? The southwest Pacific is used to test the case. A number of approaches are considered: indigenous curation; indigenous motivation; indigenous audiences; and indigenous concepts relating to methods and character of collecting and display. Cultural centers seem particularly appropriate institutions to display art and ceremonial objects and to insert ne…
History As Theme Park: Reconfiguring the Human Journey in the Art of Theodora Skipitares
For over 25 years, Theodora Skipitares has been the art world's investigative reporter turned sociocultural critic—conceiving, designing, and directing productions that materialize her passionate and critical interest in history. Although in recent years Skipitares has used actors, puppets and performing objects remain her main artistic vehicles. Skipitares fluctuates between the miniature and the monumental. She continues to use unexpected media…
Melanesian artifacts as cultural markers: A micro-anthropological study
The Unstable Object: Reviewing the Status of Ethnographic Artefacts
The Unstable Object: Reviewing the Status of Ethnographic Artefacts Get access NICK STANLEY NICK STANLEY Birmingham Polytechnic Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, Volume 2, Issue 2-3, 1989, Pages 107–122, https://doi.org/10.1093/jdh/2.2-3.107 Published: 01 June 1989
The Unstable Object: Reviewing the Status of Ethnographic Artefacts
The Unstable Object: Reviewing the Status of Ethnographic Artefacts Get access NICK STANLEY NICK STANLEY Birmingham Polytechnic Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, Volume 2, Issue 2-3, 1989, Pages 107–122, https://doi.org/10.1093/jdh/2.2-3.107 Published: 01 June 1989
Buyers, Connoisseurs and Others: Collecting Asmat Art
Asmat art is widely represented in Pacific collections in major museums despite the remoteness of the area and difficulty of communications. This article explores interactions between the Asmat people and some major collectors since the 1950s, and how different agencies came to promote Asmat carvings internationally. Three museums' practices are considered: the American Museum of Natural History, the Metropolitan Museum New York and the British M…
The Unstable Object: Reviewing the Status of Ethnographic Artefacts
The Unstable Object: Reviewing the Status of Ethnographic Artefacts Get access NICK STANLEY NICK STANLEY Birmingham Polytechnic Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, Volume 2, Issue 2-3, 1989, Pages 107–122, https://doi.org/10.1093/jdh/2.2-3.107 Published: 01 June 1989
Melanesian artifacts as cultural markers: A micro-anthropological study
History As Theme Park: Reconfiguring the Human Journey in the Art of Theodora Skipitares
For over 25 years, Theodora Skipitares has been the art world's investigative reporter turned sociocultural critic—conceiving, designing, and directing productions that materialize her passionate and critical interest in history. Although in recent years Skipitares has used actors, puppets and performing objects remain her main artistic vehicles. Skipitares fluctuates between the miniature and the monumental. She continues to use unexpected media…
Can Museums Help Sustain Indigenous Identity?-Reflections from Melanesia
Can indigenous museums serve any useful purpose outside the traditional Western imperial setting? The southwest Pacific is used to test the case. A number of approaches are considered: indigenous curation; indigenous motivation; indigenous audiences; and indigenous concepts relating to methods and character of collecting and display. Cultural centers seem particularly appropriate institutions to display art and ceremonial objects and to insert ne…
Buyers, Connoisseurs and Others: Collecting Asmat Art
Asmat art is widely represented in Pacific collections in major museums despite the remoteness of the area and difficulty of communications. This article explores interactions between the Asmat people and some major collectors since the 1950s, and how different agencies came to promote Asmat carvings internationally. Three museums' practices are considered: the American Museum of Natural History, the Metropolitan Museum New York and the British M…
My Life and Art in Lake Sentani
I use this opportunity to review my own collection of artefacts from Lake Sentani where I grew up and to reflect upon the spiritual and personal significance that this art has for me. I show how the beliefs that I inherited can be seen in the carvings designs. I explore two items in particular, a carving of two brothers from Asei Island and a chief's staff. I also document how these items came into my possession and their meaning to me many years…
Hoarding New Guinea: Writing Colonial Ethnographic Collection Histories for Postcolonial Futures
History (6 works) · Sociology (6 works) · Anthropology (5 works) · Art (5 works) · Visual arts (5 works) · Art history (3 works) · Computer Science (3 works) · Pacific and Southeast Asian Studies (3 works) · Aesthetics (2 works) · Archaeology (2 works)