By A. Schneider
How the "traffic in tradition" is practiced, rationalized and skilled via visible artists within the globalized global. The ebook makes a speciality of inventive practices within the appropriation of indigenous cultures, and the development of recent Latin American identities. Appropriation is the elemental theoretical thought constructed to appreciate those methods.
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Additional resources for Appropriation as Practice: Art and Identity in Argentina
So far, the anthropology of art has not sufficiently investigated and theorized appropriation as a major feature of culture change. For instance, 28 APPROPRIATION AS PRACTICE the term is conspicuously absent from most subject indexes, including Gell (1998). One exception is Marcus and Myers (1995), who suggest that appropriation . . concerns the art world’s ideology, discursive practices, or microtechnologies for assimilating difference (other cultural materials) in various ways. Such an assimilation of difference is generally accomplished by stripping cultural materials of their original context, or using representations of an original context in such a way as to allow for an embedding of this influence within the activities and interests of producing art.
Such an assimilation of difference is generally accomplished by stripping cultural materials of their original context, or using representations of an original context in such a way as to allow for an embedding of this influence within the activities and interests of producing art. (1995: 33) Thomas (1999: 141) also calls for a theorization of the term, but is more occupied with the politics implied in Australian “white” settler art appropriating Aboriginal culture. Writings in the field of visual anthropology, despite having evocative titles, such as “Appopriating Images” (Tomaselli 1996), have not theorized appropriation either.
Said otherwise, through the incorporation of new elements, inspired by indigenous cultures, artists change their own identity. 3 I am also interested in more general terms in the processes of cultural transmission,4 cultural exchange, and recognition of otherness,5 which, I argue, become operative through appropriation by individual artists. Thus my approach aims to shift the traditional units of analysis in anthropology, namely from whole “groups of individuals” and bounded cultures (the traditional emphasis of anthropology and of the anthropology of art) to the individual producers of artistic works and their role in the process of globalization, as well as, generally, cross-cultural contacts.
Appropriation as Practice: Art and Identity in Argentina by A. Schneider