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 |