Includes detailed chapters devoted to each of the five major cultural regions of the Pacific: Australia, Melanesia, Micronesia, Polynesia, and the islands of Southeast Asia.
Pacific Art in Detail introduces the riches of Oceanic art through astonishing close-up views of rarely seen treasures, allowing behind-the-scenes insight into this vibrant work that no conventional gallery tour affords. Carefully selected pieces from the world-renowned Oceanic collection at the British Museumâe"by artists employing a wide variety of materials and techniquesâe"illustrate such major themes as the role of artistic creation in land and ocean management, political and spiritual power, and connections to gods and ancestors. Jenny Newellâe(tm)s introduction addresses the question âeoeWhat is Pacific art?âe while short texts place each individual object into its cultural context. Handsome photographs of each complete work are displayed alongside these fine details, to allow for intriguing comparisons between seemingly unrelated objects and media. Evoking the hand and eye of the most accomplished Pacific artists and craft workers, past and present, these details spur the creative imagination and serve as an astute introduction to Oceanic collections in museums around the world.
This volume investigates Pacific collections held in Australian museums, art galleries and archives, and the diverse group of 19th and 20th century collectors responsible for their acquisition. The nineteen essays reveal varied personal and institutional motivations that eventually led to the conservation, preservation and exhibition in Australia of a remarkable archive of Pacific Island material objects, art and crafts, photographs and documents. Hunting the Collectors benchmarks the importance of Pacific Collections in Australia and is a timely contribution to the worldwide renaissance of interest in Oceanic arts and cultures. The essays suggest that the custodial role is not fixed and immutable but fluctuates with the perceived importance of the collection, which in turn fluctuates with the level of national interest in the Pacific neighbourhood. This cyclical rise and fall of Australian interest in the Pacific Islands means many of the valuable early collections in state and later national repositories and institutions have been rarely exhibited or published. But, as the authors note, enthusiastic museum anthropologists, curators, collection managers and university-based scholars across Australia, and worldwide, have persisted with research on material collected in the Pacific. This volume is a very important one for anyone studying the art and material culture of the Pacific. It focuses on collections now in Australia. Even those well versed in museum collections from the Pacific will learn about many important but little-known collectors as well as better-known figures like the anthropologists F. E. Williams and Thomas Farrell, the husband of Queen Emma. This will be a treat for students and specialist alike. —Professor Robert L. Welsch, University of Dartmouth
Hundreds of thousands of works of art and artefacts from many parts of the Pacific are dispersed across European museums. They range from seemingly quotidian things such as fish-hooks and baskets to great sculptures of divinities, architectural forms and canoes. These collections constitute a remarkable resource for understanding history and society across Oceania, cross-cultural encounters since the voyages of Captain Cook, and the colonial transformations that have taken place since. They are also collections of profound importance for Islanders today, who have varied responses to their disp.
Collective Creativity offers an analysis of the explosion of artistic creativity currently taking place on the South Pacific island of Rarotonga. By exploring the construction of this art-world through the ways in which creativity and innovation are linked to social structures and social networks, this book investigates the social aspects of making fine art in order to present a ’collective’ theory of creativity. With a close examination of tourism, galleries and, of course, the artists themselves, Katherine Giuffre presents a detailed picture of a complex and multi-faceted community through the words of the art-world participants themselves. Theoretically sophisticated, yet grounded with rich empirical data, this book will appeal not only to anthropologists with an interest in the South Pacific, but also to scholars concerned with questions of ethnicity, creativity, globalization and network analysis.
Using extraordinary Indigenous Australian art and artifacts preserved in museums across Great Britain and Ireland, the authors present a global history that entwines ancestral pasts with epochs of empire and colony leading to the contemporary moment.
With more than one hundred illustrations--most in full color--this volume offers a stimulating and insightful account of two dynamic artistic cultures, traditions that have had a considerable impact on modern western art through the influence of artists such as Gauguin. After an introduction to Polynesian and Micronesian art separately, the book focuses on the artistic types, styles, and concepts shared by the two island groups, thereby placing each in its wider cultural context. From the textiles of Tonga to the canoes of Tahiti, Adrienne Kaeppler sheds light on religious and sacred rituals and objects, carving, architecture, tattooing, and much more.
-The first book devoted to the art of the vast South Seas island groups in the Bismarck Archipelago This book features stunning, ephemeral creations made with natural materials such as plant fiber, light woods, bark cloth, and tree pith - among the most colorful of the Pacific Island arts. An inspiration to the German Expressionists and the Surrealists, these pieces combine color, fragility, and a sense of temporal purpose. Essays explore the art history of the region and set the beautifully photographed works in cultural context.