Authentic Inuit Art
Creation and Exclusion in the Canadian North
Bibliographic Data
| ID | 2390845 |
|---|---|
| Authors | Nelson H H Graburn (University of California, Berkeley), Nelson Graburn (University of California, Berkeley, corresponding author) |
| Year | 2004 |
| Volume | 9 |
| Issue | 2 |
| Pages | 141-159 |
| Publication date | 2004-07-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Material Culture (JOURNAL) |
| Journal identifiers | ISSN: 1359-1835 • E-ISSN: 1460-3586 |
| Publisher | SAGE Publications Inc (PUBLISHER) |
| DOI | 10.1177/1359183504044369 |
| OpenAlex | W2112475122 |
| Language | EN |
| Citations received | 15 |
| References cited | 15 |
Modern Inuit commercial arts grew out of the desires of multiple non-Inuit agencies and persons active during the 1930s, 1940s and 1950s. Competing visions, of art production as substitute for welfare, art as continuity with pre-modern crafts, art as Canadian national symbol, art as the expression of extreme alterity in the form of an animistic hunter-gatherer people's world view, brought into being a dynamic new set of creative forms which surpassed all of those views. In Gell's terms, these new art forms were means of carrying out the will of these competing persons in a complex competition to control social and cultural relationships. Yet this, in some sense, imposed aesthetic category of 'Eskimo Art' was in turn appropriated by the Inuit and transformed in both discourse and practice to express their active (rather than passive) relations with the Canadian state. Indeed by the 1970s the Inuit had come to believe that a major component of their identity in the world was that of artists, and they built on this new strength to establish new economic, social and political institutions. This case illustrates the complex way in which indigenous art can simultaneously proclaim difference or distinctiveness from the surrounding nation-state and also express that nation's identity within the world of nations. Objects, with their multivalent potentials, seem uniquely able to carry out such symbolic projects
Aesthetics · Art · Expression (computer science · Identity (music · Indigenous · Optimal distinctiveness theory · Political science · Politics · Sociology · State (computer science · Symbol (formal · The arts · Vision · Visual arts · Anthropology · Cultural Heritage Management and Preservation · History · Indigenous Studies and Ecology · Law · Museums and Cultural Heritage
Co-Creating Anthropology
The effects of safeguarding on ways to organize, produce and reproduce intangible cultural heritage
‘Primitivism’, Anthropology, and the Category of ‘Primitive Art’
Formation of Ethnic Identiy of the Indigenous Peoples of the North in Arts and Crafts on the Example of Bone Carving
The past in the present and future
Nelson H. H. Graburn - a tribute collection
At the Intersection of Apology and Sovereignty
Copyright in context
Laying Claim to Authenticity
The art of Inuit administration
Constraint and reproduction in an amateur craft institution
Existential and object authenticity in Southwestern pottery
Stitch'nBitch
The Anthropology of Art, After the End of Art
Constructing, Commodifying, and Consuming Invented Ethnic Provenance Among Romanian Roma
Art And Agency
The Technology of Enchantment and the Enchantment of Technology
Primitive art in civilized places
The empire of things
The Social Life of Things
Epilogue
Art, Music, and Folklore. Eskimo‐plastik Aus Kanada. Henry Schaefer‐simmern
Historicizing Canadian Anthropology
Unpacking Culture
Beyond Aesthetics
The Eskimos and ‘airport art
Eskimos Without Igloos
| Unique citing works | 15 |
|---|---|
| Citations per year | 0,71 |
| Citation span | 2005 - 2026 (22) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 13 |