000			03167cam a2200457 i 4500
001			on1328020491
003			OCoLC
005			20221006141443.0
008			220509t20222022enka b 001 0 eng d
040			_aUKMGB _beng _erda _cUKMGB _dOCLCF _dYDX _dYT1 _dNFG
015			_aGBC285473 _2bnb
016	7		_a020585260 _2Uk
020			_a9780500296592 _q(hardcover)
020			_a0500296596 _q(hardcover)
035			_a(OCoLC)1328020491
092			_a303.482 _bT459
049			_aNFGA
100	1		_aThomas, Nicholas, _d1960- _eauthor. _1https://isni.org/isni/0000000121453154
245	1	0	_aPossessions : _bindigenous art/colonial culture/decolonization / _cNicholas Thomas.
250			_aSecond edition.
264		1	_aLondon : _bThames and Hudson, _c2022.
264		4	_c©2022
300			_a368 pages : _billustrations (colour) ; _c24 cm
336			_atext _2rdacontent
336			_astill image _2rdacontent
337			_aunmediated _2rdamedia
338			_avolume _2rdacarrier
500			_aPrevious edition published as "Possessions : indigenous art/colonial culture" in 1999.
504			_aIncludes bibliographical references and index.
505	0		_aIntroduction -- 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			_aThe 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	_aArt, New Zealand.
650		0	_aArt, Australian.
650		0	_aArt, New Zealand _xThemes, motives.
650		0	_aArt, Australian _xThemes, motives.
650		0	_aFolk art _xWestern influences.
650		0	_aIndigenous peoples _xColonization.
650		0	_aArt, Modern _y20th century. _912554
650		0	_aIndigenous peoples _xEthnic identity.
994			_aC0 _bNFG
999			_c353262 _d353262