Abstracts
Résumé
Ce qui correspond aujourd’hui à la catégorie « art de la côte Nord-Ouest » est en partie le produit de représentations académiques. Ainsi, les nombreuses publications et expositions à ce sujet, considérées par certains artistes comme de précieuses sources de savoir et d’inspiration, sont ressenties par d’autres comme les vecteurs d’effets d’imposition coloniale sur leur créativité. En effet, les limites de la catégorie « art de la côte Nord-Ouest » qu’anthropologues et historiens de l’art ont contribué à établir servent de canon de référence au grand public, aux acteurs du marché de l’art et aux artistes eux-mêmes. En conséquence, certaines formes d’art ont été privilégiées tant par les acheteurs que par les producteurs, alors que d’autres sont longtemps restées méconnues. Certains chercheurs et leurs institutions commencent à reconnaître les effets des représentations qu’ils produisent et à mieux tenir compte de la réflexion critique portée sur celles-ci par les artistes et d’autres acteurs autochtones.
Mots-clés :
- art autochtone,
- côte Nord-Ouest,
- marché de l’art,
- représentations académiques,
- éthique de recherche
Abstract
That which is considered « Northwest Coast Art » today is in part the product of academic representations. Indeed, the many publications and exhibitions on this topic, precious resources and sources of inspiration for some artists, are seen by others as a vector of colonial imposition on their creativity. Anthropologists and art historians have contributed to the establishment of boundaries around the category « Northwest Coast art » that serve as a point of canonical reference to the greater public, the art market, and artists themselves. As a result, some art forms have garnered much attention, while others have long been ignored. Some researchers and their institutions are beginning to recognize the effects of the representations they produce and to better take into consideration the critical response of artists and other Indigenous actors to these representations.
Keywords:
- Indigenous art,
- Northwest Coast,
- art market,
- academic representations,
- research ethics
Resumen
Lo que hoy corresponde a la categoría “arte de la costa noroeste” es en parte producto de representaciones académicas. Así, las numerosas publicaciones y exposiciones sobre este tema, consideradas por algunos artistas como valiosas fuentes de conocimiento e inspiración, son percibidas por otros como vectores de los efectos de imposición colonial sobre su creatividad. De hecho, los límites de la categoría “arte de la costa noroeste” que antropólogos e historiadores del arte han contribuido a establecer sirven de canon de referencia para el público en general, los agentes del mercado del arte y los propios artistas. Como resultado, algunas formas de arte han sido favorecidas tanto por los compradores como por los productores, mientras que otras han permanecido durante mucho tiempo desconocidas. Algunos investigadores y sus instituciones están empezando a reconocer los efectos de las representaciones que producen y a considerar la reflexión crítica que los artistas y otros actores indígenas tienen sobre ellas.
Palabras clave:
- arte indígena,
- Costa Noroeste,
- mercado del arte,
- representaciones académicas,
- ética de la investigación
Appendices
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