What is wrong with an art forgery?: An anthropological perspective

Journal of Aesthetics and Art Criticism

Volumn 57, Issue 3, 1999, Pages 333-343

  Bowden, Ross ^a  

^a LA TROBE UNIVERSITY   (Australia)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 9544257835     PISSN: 00218529     EISSN: 15406245     Source Type: Journal    
DOI: 10.2307/432198     Document Type: Review

References (29)

1. Thirteenth International Congress of Aesthetics, Lahti, Finland, August 1-5, 1995
2. The Dictionary of Art, ed. Jane Turner (London: Macmillan; New York: Grove's Dictionaries Inc., 1996), vol. 11, p. 305
3. Ross Bowden, Yena: Art and Ceremony in a Sepik Society (Oxford: Pitt Rivers Museum, 1983)
4. Denis Dutton, "Tribal Art and Artifact," The Journal of Aesthetics and Art Criticism 51 (1993): 18
5. Mark Jones, with Paul Craddock and Nicolas Barker, eds., Fake? The Art of Deception (London: The Trustees of the British Museum, 1990), p. 99
6. Denis Dutton, ed., The Forger's Art: Forgery and the Philosophy of Art (University of California Press, 1983)
7. Alfred Lessing, "What Is Wrong with a Forgery? in Dutton, ed., The Forger's Art, pp. 58-76 and 172-187 respectively
8. Arthur Koestler, "The Anatomy of Snobbery," Antioch Review 1 (1955): 1-25
9. George Dickie, Art and the Aesthetic: An Institutional Analysis (Cornell University Press, 1974), pp. 19-52
10. Richard Anderson, Art in Small-Scale Societies (Englewood Cliffs, NJ: Prentice Hall, 1989), p. 129
11. For an illustration, see Turner, ed., The Dictionary of Art, vol. 24, p. 67, fig. 2
12. Paul Crowther, "Alienation and Disalienation in Abstract Art," in Philosophy and the visual Arts: Seeing and Abstracting, ed. Andrew Harrison (Dordrecht: D. Reidel, 1987), p. 130
13. "Artifact and Art," in Art/Artifact: African Art in Anthropology Collections, ed. Susan Vogel (New York: The Centre for African Art and Prestel Verlag, 1988), p. 29
14. Jonathan Culler outlines a similar approach to literature. In Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature (London: Routledge and Kegan Paul, 1975), p. 189
15. H. Gene Blocker, Philosophy of Art (New York: Charles Scribner's Sons, 1979)
16. Michael Billington in The Guardian Weekly, November 20, 1994, p. 26
17. Richard Wollheim, "Pictorial Style: Two Views," in The Concept of Style, ed. B. Lang (University of Pennsylvania Press, 1979), pp. 133-134
18. Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols (London: Oxford University Press, 1969), p. 113
19. Sally Price, Primitive Art in Civilized Places (University of Chicago Press, 1989), p. 60
20. H. Gene Blocker, The Aesthetics of Primitive Art (Lanham, MD: University Press of America, 1994), pp. 119-204
21. Ross Bowden, A Dictionary of Kwoma: a Papuan Language of North-East New Guinea, Pacific Linguistics, Series C, vol. 134 (Canberra: Pacific Linguistics, 1997)
22. The Times Literary Supplement, June 27, 1997, pp. 18-19
23. Wandjuk Marika, Wandjuk Marika: Life Story as Told to Jennifer Isaacs (University of Queensland Press, 1995), p. 113
24. Terence Barrow, An Illustrated Guide to Maori Art (Auckland: Reed Methuen, 1984), p. 16
25. Mutuaga: A Nineteenth-Century New Guinea Master Carver (The University of Wollongong Press, 1996), pp. 40 ff
26. W. L. Merrill, Edmund J. Ladd, and T. J. Ferguson, "The Return of Ahayu:da: Lessons for Repatriation from Zuni Pueblo and the Smithsonian Institution," Current Anthropology 34 (1993): 523-568
27. Sandra Pannell, "Mabo and Museums: The Indigenous (Re)appropriation of Indigenous Things," Oceania 65 (1994): 18-39
28. Marianna Torgovnick, Gone Primitive: Savage Intellects and Modern Lives (University of Chicago Press, 1990), p. 125
29. Monroe Beardsley, "Notes on Forgery," in Dutton, ed., The Forger's Art, p. 225