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Between Art and Artifact : Archaeological Replicas and Cultural Production in Oaxaca, Mexico / Ronda L. Brulotte.

By: Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2012Description: 1 online resource (235 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292737808
Subject(s): DDC classification:
  • 972/.74
LOC classification:
  • F1219.1.O11 B78 2012
  • F1219.1.O11 B78 2012
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Preface -- Acknowledgments -- CHAPTER ONE. Introduction: Between Art and Artifact -- CHAPTER TWO. A Wood-Carving Community -- CHAPTER THREE. Arrazola’s Other Craft -- CHAPTER FOUR. Crafting the Past in the Present -- CHAPTER FIVE. Replicating Authenticity, Authenticating Replicas -- CHAPTER SIX. Replicas and the Ambiguity of Race and Indigeneity -- CHAPTER SEVEN. Why Fake Jaguar Gods Matter -- Notes -- Bibliography -- Index
Summary: Oaxaca is internationally renowned for its marketplaces and archaeological sites where tourists can buy inexpensive folk art, including replicas of archaeological treasures. Archaeologists, art historians, and museum professionals sometimes discredit this trade in “fakes” that occasionally make their way to the auction block as antiquities. Others argue that these souvenirs represent a long cultural tradition of woodcarving or clay sculpting and are “genuine” artifacts of artisanal practices that have been passed from generation to generation, allowing community members to preserve their cultural practices and make a living. Exploring the intriguing question of authenticity and its relationship to cultural forms in Oaxaca and throughout southern Mexico, Between Art and Artifact confronts an important issue that has implications well beyond the commercial realm. Demonstrating that identity politics lies at the heart of the controversy, Ronda Brulotte provides a nuanced inquiry into what it means to present “authentic” cultural production in a state where indigenous ethnicity is part of an awkward social and racial classification system. Emphasizing the world-famous woodcarvers of Arrazola and the replica purveyors who come from the same community, Brulotte presents the ironies of an ideology that extols regional identity but shuns its artifacts as “forgeries.” Her work makes us question the authority of archaeological discourse in the face of local communities who may often see things differently. A departure from the dialogue that seeks to prove or disprove “authenticity,” Between Art and Artifact reveals itself as a commentary on the arguments themselves, and what the controversy can teach us about our shifting definitions of authority and authorship.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292737808

Frontmatter -- Contents -- Preface -- Acknowledgments -- CHAPTER ONE. Introduction: Between Art and Artifact -- CHAPTER TWO. A Wood-Carving Community -- CHAPTER THREE. Arrazola’s Other Craft -- CHAPTER FOUR. Crafting the Past in the Present -- CHAPTER FIVE. Replicating Authenticity, Authenticating Replicas -- CHAPTER SIX. Replicas and the Ambiguity of Race and Indigeneity -- CHAPTER SEVEN. Why Fake Jaguar Gods Matter -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Oaxaca is internationally renowned for its marketplaces and archaeological sites where tourists can buy inexpensive folk art, including replicas of archaeological treasures. Archaeologists, art historians, and museum professionals sometimes discredit this trade in “fakes” that occasionally make their way to the auction block as antiquities. Others argue that these souvenirs represent a long cultural tradition of woodcarving or clay sculpting and are “genuine” artifacts of artisanal practices that have been passed from generation to generation, allowing community members to preserve their cultural practices and make a living. Exploring the intriguing question of authenticity and its relationship to cultural forms in Oaxaca and throughout southern Mexico, Between Art and Artifact confronts an important issue that has implications well beyond the commercial realm. Demonstrating that identity politics lies at the heart of the controversy, Ronda Brulotte provides a nuanced inquiry into what it means to present “authentic” cultural production in a state where indigenous ethnicity is part of an awkward social and racial classification system. Emphasizing the world-famous woodcarvers of Arrazola and the replica purveyors who come from the same community, Brulotte presents the ironies of an ideology that extols regional identity but shuns its artifacts as “forgeries.” Her work makes us question the authority of archaeological discourse in the face of local communities who may often see things differently. A departure from the dialogue that seeks to prove or disprove “authenticity,” Between Art and Artifact reveals itself as a commentary on the arguments themselves, and what the controversy can teach us about our shifting definitions of authority and authorship.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)