By Roger Sansi
In contemporary a long time, the discussion among paintings and anthropology has been either extreme and debatable. Art, Anthropology and the Gift presents a much-needed and complete review of this discussion, while additionally exploring the reciprocal nature of the 2 topics via perform, idea and politics.
Fully attractive with anthropology and artwork thought, this e-book innovatively argues that artwork and anthropology do not simply proportion methodologies, but additionally deeper highbrow, theoretical or even political matters, inviting students and scholars alike to examine this contentious courting in a extra serious mild. one of many vital arguments of the ebook is that the matter of the 'gift' has been imperative to either anthropological and inventive perform. This very concept connects the various chapters on issues together with aesthetics, politics, participation and fieldwork.
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Additional info for Art, Anthropology and the Gift
In The Hotel (1984) project, she meticulously recorded her activities as a chambermaid in a hotel—registering how her relationship with the guests was mediated by the objects and trash they left behind; in Double Games (performed in 1994), she took the persona of a book character, living for a week in a phone booth in Tribeca, lower Manhattan. From there she listened to conversations and talked with passersby, offered cigarettes and sandwiches, and recorded everything that happened, every exchange, including smiles.
In that journal, one could find ethnologists like Griaule publishing together with writers like Georges Bataille and Michel Leiris, who eventually also became an anthropologist: years later, both Leiris and Griaule were involved in the Dakar-Djibouti ethnographic expedition (see Leiris 1996; Clifford 1988). The name of the magazine was itself a manifesto: they were not interested in “art” as manufactured objects of beauty, but they looked at objects as documents, traces, remainders of events. They were interested in ethnography: documenting the events of the everyday and the extraordinary, the familiar and the distant.
And what about the power they seem to attribute to themselves of affecting certain “changes” in the life of the village? That is less clear from Kester’s description. In other words, the problems of “agency” that one could identify in Calle’s and Alÿs’s work could also be found, if at another level, in long-standing, community-oriented ethnographic projects, like Dialogue’s. The complex “network of agencies” involved in participative art projects are also at the center of a recently published historical ethnography of a “community arts” group in Great Britain: Free Form, by anthropologist Catherine Crehan (2012).
Art, Anthropology and the Gift by Roger Sansi