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Inuit art in the Qallunaat world: Mo...

Vorano, Norman David.

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Inuit art in the Qallunaat world: Modernism, museums and the popular imaginary, 1949-1962.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Inuit art in the Qallunaat world: Modernism, museums and the popular imaginary, 1949-1962./
作者:	Vorano, Norman David.
面頁冊數:	569 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1703.
Contained By:	Dissertation Abstracts International68-05A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3263999
ISBN:	9780549024132

Inuit art in the Qallunaat world: Modernism, museums and the popular imaginary, 1949-1962.
Vorano, Norman David.

Inuit art in the Qallunaat world: Modernism, museums and the popular imaginary, 1949-1962. - 569 p.

Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1703.

Thesis (Ph.D.)--University of Rochester, 2007.

Theoretical advances in art history and visual and cultural studies have given researchers less idealist and more socially oriented ways to understand the popularity and circulation of art in the west. Today, critical cultural historians draw from an ever-widening body of interdisciplinary theory to expose, interrogate and deconstruct the dominant discourses and practices involved in the circulation and reception of non-western and Indigenous arts in the west. This has shifted the narrow focus of previous studies away from the producers as loci of signification towards sites of distribution, museums, artwriting, and the social actors involved in those institutions including cultural brokers and consumers.

ISBN: 9780549024132Subjects--Topical Terms:

735016
Anthropology, Cultural.

Inuit art in the Qallunaat world: Modernism, museums and the popular imaginary, 1949-1962.
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520 $a Following these shifts, this dissertation critically examines the discourses, institutional practices and forms of cultural brokerage that were involved in the "birth" and "early years" of Inuit art, from 1949 until 1962. It is a loosely chronological, critical cultural history based upon archival government documents, newspaper and journal articles, interviews and discourse analysis. This dissertation interrogates the main interpretive strategies used by audiences and promoters in the circulation and reception of Inuit art, and contextualizes its growth in relation to the wider artworld and the political culture of the mid twentieth century. This research engages with the following key-terms: gender, representation, modernism, primitivism, nationalism, and the Cold War. It enlarges our understanding of the social significance of Inuit art for Qallunaat (Western) audiences by addressing the Government's political and economic objectives in supporting international tours of Inuit art in the late 1950s and early 1960s. This dissertation concludes by briefly looking at two contemporary (2006) Inuit artists who are challenging the structures of representation examined herein.
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