Art in the Making

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Nina De Angeli Walls Art, Industry, and Women's Education in Philadelphia Westport, Conn.: Bergin and Garvey, 2001. 208 pp. $62.50 hardback.     

Art in the Making

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There's Pigs and Pigs: Erik Blegvad, The Three Little Pigs, Atheneum: New York, 1980, 32 pages, $8.95.

There's Pigs and Pigs: Joseph Jacobs, The Story of the Three Little Pigs (illust. by Lorinda B. Cauley), Putnam: New York, 1980, unpaged, $8.95.

There's Pigs and Pigs: Margaret Wise Brown (illust. by Ann Strugnell), Once Upon a Time in a Pigpen, Addison-Wesley: Reading, Mass., 1980, 64 pages, $10.95.

There's Pigs and Pigs: Miska Miles (illust. by Leslie Morrill), This Little Pig, Dutton: New York, 1980, unpaged, $6.95.

Picture Books: William Steig, Gorky Rising, Farrar, Strauss &; Giroux: New York, 1980, unpaged, $10.95.

Picture Books: Charles Keeping, Willie's Fire-Engine, Oxford University: New York, 1980, unpaged, $10.95 (boards).

Picture Books: Lydia Pender (illust. by Judith Cowell), The Useless Donkeys, Warne: New York, 1979, unpaged, $9.95.

Picture Books: Lillie D. Chaffin (illust. by Lloyd Bloom), We Be Warm Till Springtime Comes, Macmillan: New York, 1980, unpaged, $9.95.

Picture Books: Kate Canning, A Painted Tale, Barrons: Woodbury, N.Y.: 1979, unpaged, $6.95 (boards).

Historical Explorations: Maurice Boutet de Monvel, Joan of Arc, Viking: New York, 1980, 55 pages, $12.95.

Historical Explorations: Mitsumasa, Anno, Anno's Medieval World, Philomel Books: New York, 1980, 48 pages, $9.99.

Historical Explorations: Peter Spier, People, Doubleday: New York, 1980, unpaged, $10.00.

Historical Explorations: John S. Goodall, An Edwardian Season, Atheneum: New York, 1980, unpaged, $7.95.

Historical Explorations: Miriam Schlein (illust. by Erik Hilgert), I, Tut, Four Winds Press: New York, 1979, unpaged, $7.95.     

Art in the Making

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Jan Adkins, Letterbox: The Art and History of Letters, Walker: New York, 1981, 48 pages, $10.95.

Michael Kehoe, The Puzzle of Books, Carolrhoda Books, Minneapolis, 1982, unpaged, $6.95.

Linda Bourke, Handmade Abc: A Manual Alphabet, Addison-Wesley: Reading, Mass., 1981, unpaged, $6.95.

Linda Bourke, Signs of a Friend, Addison-Wesley: Reading, Mass., 1982, unpaged, $2.95 (paper).

Philip Newth, Roly Goes Exploring, Philomel Books: New York, 1981, unpaged, $12.95 (spiral bound).

Tomas Gonzales (text by J. R. Kesselman and F. Peterson), I CAN USE TOOLS, Elsevier/Nelson: New York, 1981, unpaged, $6.25 (boards).

Harvey Weiss, Hammer and Saw, Crowell: New York, 1981, 80 pages, $9.00.

Gail Gibbons, Tool Book, Holiday House: New York, 1982, unpaged, n.p.i.

Harvey Weiss, Model Building: And How to Make Them, Thomas Crowell: New York, 1979, 96 pages, $7.95.

Paul Berman, Make-Believe Empire: A How-to Book, Atheneum: New York, 1982, 88 pages, $8.95.

Evaline Ness, Four Rooms From the Metropolitan Museum of Art, Scribners: New York, 1977, unpaged, $6.95.

Alan Rose, Build Your Own Taj Mahal, Perigee: New York, 1981, unpaged, $7.95.

Les Walker, Housebuilding for Children, The Overlook Press: New York, 1977, 175 pages, $10.00.

Jose Aruego and Ariane Dewey (story by Natalie S. Carlson), Marie Louise and Christopher at The Carnival, Scribners: New York, 1981, unpaged, $11.95

Beverley Gooding (Kenneth Grahame), Wayfarers All from The Wind in the Willows, Scribners: New York, 1981, 32 pages, $11.95.

Shawn Rice (text by Paul Rice and Peter Mayle), AS DEAD AS A DODO, Godine: Boston, 1981, unpaged, $10.95.     

Picking at the Paint: Viewing Contemporary Bushman Art as Art

In most writing on contemporary Bushman art the art is discussed as a tool of development, a tourism endeavor and an income generator. While these are aims both legitimate and beneficial to the communities involved, they also work (implicitly yet effectively) to separate the art, artist and subsequently the community out of which the art is produced from “the rest of us,” defining these communities as “other.” This article attempts to engage with contemporary Bushman art as art objects. Using criteria of judgment based on a functional semiotics of art, two works will be analyzed to prove that the works may be discussed as Art. The premise is that once people recognize the aesthetic intelligence imbued in these artworks they will be able to engage with the work in a way that is similarly intelligent and contemporary. The art and its people will then stand a better chance of being accepted into the realm of the everyday as opposed to being relegated to the sarcophagi of history. Once taken from this starting position, goals of community development and tourism endeavors linked to indigenous art can become that much more beneficial and life-changing for the communities concerned.