共查询到20条相似文献,搜索用时 31 毫秒
1.
2.
3.
4.
T. Delamothe 《BMJ (Clinical research ed.)》1989,298(6681):1164-1165
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Silverman Eric K. 《International Journal of Anthropology》2003,18(4):219-230
This paper compares two contemporary aesthetic expressions: tourist art from the Sepik River in Papua New Guinea and the New
Guinea Sculpture Garden at Stanford University. Both aesthetic expressions undermine the conventional categories that classify
art. Sepik River tourist art is motivated not by the drive to lend individual, subjective experience a material expression
but by monetary desire. The New Guinea Sculpture Garden was expressly created so that Sepik artisans could expand beyond the
confines of village traditions and create unfettered aesthetic expressions. But seemingly inauthentic Tourist Art actually
represents many of the ideals normally ascribed to Western masterpieces, or High Art. Conversely, the High Art of the Sculpture
Garden in many respects resembles inauthentic reproductions and the tenacity of traditional forms. Both tourist art and the
sculpture Garden, however, have one key quality in common: they rupture conventional artistic cattegories. 相似文献
16.
17.
D Moulton-Barrett 《CMAJ》1984,131(5):475-476
18.
19.
20.