| Contents note |
<br/>Discovery of African art, 1906 / Maurice de Vlaminck<br/>Early encounters with African art, 1906 / André Derain<br/>First encounter with African art, 1906 / Henri Matisse<br/>Discovery of African art, 1906-1907 / Pablo Picasso<br/>Matisse and Picasso and African art, 1906-1907 / Gertrude Stein<br/>On museums, 1909 / Guillaume Apollinaire<br/>The wild men of Paris, 1910 / Gelett Burgess<br/>The art of the bushmen, 1910 / Roger Fry<br/>Letter to August Macke, 1911 / Franz Marc<br/>Masks, 1912 / August Macke<br/>The artistic expressions of primitive peoples, 1912 / Emil Nolde<br/>The tropics, 1912 / Elie Faure<br/>Decorative arts and artistic curiosities, 1912 / André Warnod<br/>Negro art, 1913 / Vladimir Markov<br/>Picasso and African sculpture exhibition, Berlin, 1913 / Karl Scheffler<br/>Picasso and African sculpture exhibition, Dresden, 1914 / Emil Waldmann<br/>Statuary in wood by African savages : the root of modern art, 1914 / Marius de Zayas<br/>Root of art in Negro carvings, 1914 / Charles H. Caffin<br/>The art of the savage and its principles, 1915 / Kazimir Malevich<br/>African sculpture, 1915 / Carl Einstein<br/>African Negro art and modern art, 1916 / Marius de Zayas<br/>Expressionism, 1916 / Hermann Bahr<br/>America's archaeological heritage, 1916 / Edgar L. Hewett<br/>Concerning the art of the Blacks, 1917 / Guillaume Apollinaire<br/>Note 6 on African art, 1917 / Tristan Tzara<br/>Negro sculpture, 1918 / Josef Čapek<br/>War-paint and feathers, 1919 / T.S. Eliot<br/>Savage art, 1919 / Henri Clouzot and André Level<br/>A new aesthetic, 1919 / Paul Guillaume<br/>Opinions on Negro art, 1920 / Florent Fels, editor<br/>Negro art, 1920 / André Salmon<br/>Negro sculpture at the Chelsea book club, 1920 / Roger Fry<br/>Will arts from remote places be admitted into the Louvre?, 1920 / Félix Fénéon, editor<br/>The art of the American Indian, 1920 / Walter Pach<br/>Red man ceremonials, 1920 / Marsden Hartley<br/>The sculpture of the African Negroes, 1923 / Carlo Anti<br/>Melanian art at the Pavillon de Marsan, 1923 / Florent Fels<br/>Note on African art, 1924 / Alain Locke<br/>The lesson of an exhibition, 1925 / Henri Clouzot and André Level<br/>Legacy of the ancestral arts, 1925 / Alain Locke<br/>Reflections on Negro art, 1927 / Georges Salles<br/>Oceanic works of art and today's problems, 1929 / Christian Zervos<br/>Savage art, 1929 / Paul Éluard<br/>The twilight of the idols, 1930 / Waldemar George<br/>Primitive art, 1930 / G.H. Luquet<br/>Primitive art, 1930 / Georges Bataille<br/>Introduction to American Indian art, 1931 / John Sloan and Oliver LaFarge<br/>The meaning of primitive art, 1932 / Eckart von Sydow<br/>The Negro artist and modern art, 1934 / Romare Bearden<br/>The art of Negro Africa, 1935 / James Johnson Sweeney<br/>African art, 1935 / Alain Locke<br/>Primitive art and Picasso, 1937 / John D. Graham<br/>The Negro artist and racial bias, 1937 / James A. Porter<br/>Indian art of the United States, 1941 / Frederic H. Douglas and Rene D'Harnoncourt<br/>Primitive art, 1941 / Henry Moore<br/>The portrait and the modern artist, 1943 / Adolph Gottlieb and Mark Rothko<br/>Arts of the South Seas, 1946 / Ralph Linton and Paul S. Wingert<br/>Art of the South Seas, 1946 / Barnett Newman<br/>Northwest coast Indian painting, 1946 / Barnett Newman<br/>Negro art and cubism, 1948 / D.H. Kahnweiler<br/>Anticultural positions, 1951 / Jean Dubuffet<br/>French painting and Negro art, 1968 / Jean Laude<br/>Modernist primitivism, 1984 / William Rubin<br/>Doctor, lawyer, Indian chief, 1984 / Thomas McEvilley<br/>Histories of the tribal and the modern, 1985 / James Clifford<br/>On the claims and critics of the "primitivism" show, 1985 / Kirk Varnedoe<br/>The "primitive" unconscious of modern art, 1985 / Hal Foster<br/>The global issue, 1990 / Thomas McEvilley<br/>Naming, 1990 / Lucy Lippard<br/>Primitivist modernism, 1998 / Sieglinde Lemke |
| Summary, etc |
Publisher's description: This book is the first to bring together texts documenting the encounter between Western artists and writers and what has historically been called primitive art--the traditional, indigenous arts of Africa, Oceania, and North America. Beginning with the "discovery" of that art by European artists and writers early in the twentieth century, this anthology charts the evolving pictorial responses, artistic aspirations, aesthetic theories, and cultural debates that have developed from this encounter. Written by artists, literary figures, collectors, museum curators, and cultural critics, these essays--most of them never before translated or reprinted--show the dazzling range of issues elicited by the confrontation with primitive arts and cultures. Primitivism designates not a specific movement or group of artists, but a persuasive notion crucial to twentieth-century art and modern thinking generally. Because the encounter between the West and primitive art took place at the height of Western colonialism, a number of racial and political issues come into play, either overtly or implicitly, in writings about both the art and the people who produced it. The contributions to this volume speak to each other in provocative ways, giving a unique overview of those issues. Jack Flam provides an introduction to the book and brief outlines for each of its four sections. Also included are a coda of quotations from artists and critics from throughout the century a chronology of events, exhibitions, and publications an extensive bibliography and over forty illustrations. |
