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008			220426t20212012txu fo d z eng d
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020			_a9780292737808 _qPDF
024	7		_a10.7560/737792 _2doi
035			_a(DE-B1597)9780292737808
035			_a(DE-B1597)587929
035			_a(OCoLC)1280943500
040			_aDE-B1597 _beng _cDE-B1597 _erda
050	0	0	_aF1219.1.O11 _bB78 2012
050		4	_aF1219.1.O11 _bB78 2012
072		7	_aART000000 _2bisacsh
082	0	4	_a972/.74
084			_aonline - DeGruyter
100	1		_aBrulotte, Ronda L. _eautore
245	1	0	_aBetween Art and Artifact : _bArchaeological Replicas and Cultural Production in Oaxaca, Mexico / _cRonda L. Brulotte.
264		1	_aAustin : _bUniversity of Texas Press, _c[2021]
264		4	_c©2012
300			_a1 online resource (235 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tPreface -- _tAcknowledgments -- _tCHAPTER ONE. Introduction: Between Art and Artifact -- _tCHAPTER TWO. A Wood-Carving Community -- _tCHAPTER THREE. Arrazola’s Other Craft -- _tCHAPTER FOUR. Crafting the Past in the Present -- _tCHAPTER FIVE. Replicating Authenticity, Authenticating Replicas -- _tCHAPTER SIX. Replicas and the Ambiguity of Race and Indigeneity -- _tCHAPTER SEVEN. Why Fake Jaguar Gods Matter -- _tNotes -- _tBibliography -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aOaxaca 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.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650		0	_aAntiquites _zMexico _zOaxaca Valley _xReproduction.
650		0	_aArt objects _zMexico _zOaxaca Valley _xReproduction.
650		0	_aCultural property _zMexico _zOaxaca Valley.
650		0	_aIndian art _zMexico _zOaxaca Valley.
650		0	_aIndian wood-carving _zMexico _zOaxaca Valley.
650		0	_aIndians of Mexico _xMaterial culture _zMexico _zOaxaca Valley.
650		0	_aIndians of Mexico _zMexico _zOaxaca Valley _xMaterial culture.
650		7	_aART / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7560/737792
856	4	0	_uhttps://www.degruyter.com/isbn/9780292737808
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780292737808/original
942			_cEB
999			_c187899 _d187899