Possessions : (Record no. 353262)

MARC details
000 -LEADER
fixed length control field 03167cam a2200457 i 4500
001 - CONTROL NUMBER
control field on1328020491
003 - CONTROL NUMBER IDENTIFIER
control field OCoLC
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20221006141443.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 220509t20222022enka b 001 0 eng d
040 ## - CATALOGING SOURCE
Original cataloging agency UKMGB
Language of cataloging eng
Description conventions rda
Transcribing agency UKMGB
Modifying agency OCLCF
-- YDX
-- YT1
-- NFG
015 ## - NATIONAL BIBLIOGRAPHY NUMBER
National bibliography number GBC285473
Source bnb
016 7# - NATIONAL BIBLIOGRAPHIC AGENCY CONTROL NUMBER
Record control number 020585260
Source Uk
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9780500296592
Qualifying information (hardcover)
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 0500296596
Qualifying information (hardcover)
035 ## - SYSTEM CONTROL NUMBER
System control number (OCoLC)1328020491
092 ## - LOCALLY ASSIGNED DEWEY CALL NUMBER (OCLC)
Classification number 303.482
Item number T459
049 ## - LOCAL HOLDINGS (OCLC)
Holding library NFGA
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Thomas, Nicholas,
Dates associated with a name 1960-
Relator term author.
-- https://isni.org/isni/0000000121453154
245 10 - TITLE STATEMENT
Title Possessions :
Remainder of title indigenous art/colonial culture/decolonization /
Statement of responsibility, etc Nicholas Thomas.
250 ## - EDITION STATEMENT
Edition statement Second edition.
264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE STATEMENTS
Place of production, publication, distribution, manufacture London :
Name of producer, publisher, distributor, manufacturer Thames and Hudson,
Date of production, publication, distribution, manufacture 2022.
264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE STATEMENTS
Date of production, publication, distribution, manufacture ©2022
300 ## - PHYSICAL DESCRIPTION
Extent 368 pages :
Other physical details illustrations (colour) ;
Dimensions 24 cm
336 ## - CONTENT TYPE
Content Type Term text
Source rdacontent
336 ## - CONTENT TYPE
Content Type Term still image
Source rdacontent
337 ## - MEDIA TYPE
Media Type Term unmediated
Source rdamedia
338 ## - CARRIER TYPE
Carrier Type Term volume
Source rdacarrier
500 ## - GENERAL NOTE
General note Previous edition published as "Possessions : indigenous art/colonial culture" in 1999.
504 ## - BIBLIOGRAPHY, ETC. NOTE
Bibliography, etc Includes bibliographical references and index.
505 0# - FORMATTED CONTENTS NOTE
Formatted contents note Introduction -- Beginnings -- Landscapes: Possession and Dispossession -- Objects: Indigenous Signs in Colonial Design -- Artworks: Indigenous Signs in Colonial Art -- Presences: Indigenous Landscapes, Artworks and Exhibitions -- Hierarchies: From Traditional to Contemporary -- Situations: Indigenous Art in Public Culture -- Identities: Diasporas, Nations and Transactions -- Endings -- Retrospect/Prospect: A Conclusion
520 ## - SUMMARY, ETC.
Summary, etc The arts of Africa, Oceania and Native America famously inspired twentieth-century modernist artists such as Picasso, Matisse and Ernst. The politics of such stimulus, however, have long been highly contentious: was this a cross-cultural discovery to be celebrated, or just one more example of Western colonial appropriation? Highly acclaimed on first publication, and now revised and updated, this revelatory book explores cross-cultural art through the lens of settler societies such as Australia and New Zealand, where Europeans made new nations, displacing but never eclipsing Native peoples. In this dynamic of dispossession and resistance, settler artists and designers have drawn upon Indigenous motifs and styles in their search for distinctive identities, while powerful Indigenous art traditions have asserted the presence of First Nations peoples and their claims to place, history and sovereignty. Cultural exchange is a two-way process, and an unpredictable one: contemporary Indigenous art draws on global contemporary practice, but moves beyond a bland affirmation of hybrid identities to uphold the enduring values and attachment to place of Indigenous peoples.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Art, New Zealand.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Art, Australian.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Art, New Zealand
General subdivision Themes, motives.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Art, Australian
General subdivision Themes, motives.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Folk art
General subdivision Western influences.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Indigenous peoples
General subdivision Colonization.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Art, Modern
Chronological subdivision 20th century.
9 (RLIN) 12554
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Indigenous peoples
General subdivision Ethnic identity.
994 ## -
-- C0
-- NFG
Holdings
Withdrawn status Lost status Damaged status Not for loan Collection code Home library Current library Date acquired Source of acquisition Total Checkouts Full call number Barcode Date last seen Cost, replacement price Price effective from Koha item type
        NonFiction Main Library Main Library 09/26/2022 1   303.482 T459 33111010898886 12/15/2023 45.00 08/23/2022 Adult Book

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