000			03121nam a22002657a 4500
999			_c50898 _d50898
005			20190418154623.0
008			190418b ||||| |||| 00| 0 eng d
020			_a9780292754263
028			_a:Variety Books Publishers & Distributors _b;B-10 Street No 2 West Vinod Nagar Delhi 110092 _c:9778 _d:15/04/2019
082			_a972.74 BRU
100			_aBrulotte, Ronda L.
245			_aBetween art and Artifact _b: archaeological replicas and cultural production in Oaxaca, Mexico _c/ Ronda L Brulotte
260			_aAustin _b : University of Texas Press, _c2012.
300			_axvii, 215 pages _b: illustrations, maps _c ; 24 cm
365			_b2196
505			_aBetween art and artifact : the skull of Benito Judrez -- A wood-carving community : family photo -- Arrazola's other craft : to the top of Monte Albán -- Crafting the past in the present : views from the pyramid -- Replicating authenticity, authenticating replicas : rediscriminating tastes -- Replicas and the ambiguity of race and indigeneity -- Why fake jaguar gods matter.
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.
650			_aHistory
650			_aHistory of North America
650			_aMexico, Central America, West Indies, Bermuda
650			_aIndian art -- Mexico -- Oaxaca Valley.
655			_aCultural property. _bIndian art.
700			_aBrulotte, Ronda L.
942			_cBOOK