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The Early Years of Native American Art History: The Politics of Scholarship and Collecting (McLellan Books)
  
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The Early Years of Native American Art History: The Politics of Scholarship and Collecting (McLellan Books) [Hardcover]

Janet Catherine Berlo (Editor)
5.0 out of 5 stars  See all reviews (1 customer review)


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Hardcover $46.54  
Hardcover, September 1992 --  

Book Description

McLellan Books September 1992
This collection of essays deals with the development of Native American art history as a discipline rather than with particular art works or artists. It focuses on the early anthropologists, museum curators, dealers, and collecto and on the multiple levels of understanding and misunderstanding, app

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Editorial Reviews

Review

Reviews of this title are not available at this time. --This text refers to an alternate Hardcover edition.

About the Author

Janet Catherine Berlo is a professor in the Department of Art History at the University of Missouri, St. Louis. --This text refers to an alternate Hardcover edition.

Product Details

  • Hardcover: 244 pages
  • Publisher: University of Washington Press (September 1992)
  • Language: English
  • ISBN-10: 0295972025
  • ISBN-13: 978-0295972022
  • Product Dimensions: 9.5 x 6.3 x 1 inches
  • Shipping Weight: 1.4 pounds
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #4,077,451 in Books (See Top 100 in Books)

 

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4 of 4 people found the following review helpful:
5.0 out of 5 stars Essential Reading in the Discipline, February 25, 2000
This review is from: The Early Years of Native American Art History: The Politics of Scholarship and Collecting (McLellan Books) (Hardcover)
This anthology illustrates the core problems in Native North American Art History by showing the paradoxes in its founding methodology. The essays deal directly with early scholars' and collectors' cultural barriers to understanding their subjects. The book provides examples of how to question the idealogical bases of what we often accept as the truth regarding the work.

I've found it to be immensely useful in a course that surveys the field; students develop a better appreciation for the work by studying the wider implications of ethnography and collecting. In particular, Marvin Cohodas' essay on Louisa Keyser often opens the way to new levels of understanding the contradictions in the discipline.

Anyone with a serious interest in native art should read this collection.

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