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News and Notes
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 18 Article 24 Issue 1 May 2004 News and Notes Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons Recommended Citation (2004) "News and Notes," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 18 : Iss. 1 , Article 24. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol18/iss1/24 This Commentary or Dialogue is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. et al.: News and Notes MOAl ~lGtt\"lNGt~ IN OUR VOLUME 17(1) ISSUE of Rapa Nui Journal (May 2003), we noted that tissue cases in the shape of a moai head were on sale from Ebay; one pulls a tissue from its nose. Since then, these 'Tiki Head Tissue Box Covers" have ap peared in catalogs all over the country, advertised as a "delightfully heady presence". We now have received dozens of the e advertisements (please, folks, no more....). MEANWHll..E, RAPANUIPHILE, Bob Chisnell wrote a letter of This "moai sighting" was sent in by Avonne Bradshaw of Phoenix, protest to a magazine that was advertising them: Sirs: I have and rather leaves us speechJe s. In that Light, we ask our readers to supply an appropriate caption. -
0 0 0 0 Acasa Program Final For
PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
Hamilton Easter Fiel
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Eastern-Island.Pdf
1 http://chileprecolombino.cl/pueblos-originarios/rapa-nui/ambiente-y-localizacion/ RAPA NUI Location and geography Rapa Nui, as Easter Island is known to local inhabitants, is one of the most remote populated places on the planet. Set in the midst of the Pacific Ocean, the island is on the southeastern axis of the great Polynesian archipelago, more than 3500 kilometers west of mainland Chile. Volcanic in origin, it originally had a dozen tree species very similar to those found in Polynesia, and is now populated by migratory birds, marine mammals, fish, insects and small terrestrial snails. Economy In ancient times, the people of Rapa Nui subsisted by growing several varieties of plantain, squash, tubers and sugar cane, and complemented their diet with fishing, hunting and gatheringfood from the sea. They also used the native trees on the island to make textiles and obtain pigments and high quality timber, and they introduced the Polynesian mouse and domestic chickens to the island. Art The Rapa Nui people developed an advanced and sophisticated megalithic art tradition that emerged from their intense devotion to ancestor worship and is unparalleled in Polynesia. Over a period of five hundred years, they erected close to three hundred altars, called ahus, and carved more than six hundred stone moaistatues. These monumental pieces expressed the competition for power among different lineages on the island and a clear desire for ostentation through the construction of ever-larger and more elaborate works. The ahuswere the product of an architectural tradition that emerged gradually, free from external influences. The oldest of these platforms feature large walls composed of enormous blocks of lava fitted together with incredible precision. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Ono Tupuna, the richness of the ancestors. Multiples Landscapes Relationalities in Contemporary Indigenous Rapa Nui Permalink https://escholarship.org/uc/item/4kk483h5 Author Rivas, Antonia Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Ono Tupuna, the richness of the ancestors. Multiples Landscapes Relationalities in Contemporary Indigenous Rapa Nui By Antonia Rivas A dissertation submitted in partial satisfaction of degree requirements for Doctor of Philosophy in Anthropology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Charles L Briggs, Co-Chair Professor Nancy Scheper-Hughes, Co-Chair Professor Laura Nader Professor Leti P Volpp Summer 2017 Abstract Ono Tupuna, the richness of the ancestors. Multiples Landscapes Relationalities in Contemporary Indigenous Rapa Nu By Antonia Rivas Doctor of Philosophy in Anthropology University of California, Berkeley Professor Charles Briggs, Co-Chair Professor Nancy Scheper-Hughes, Co-Chair Contemporary Rapa Nui is formed by a multiple and complex set of interactions, encounters, and circumstances that comprise the core of their indigenous identity, like many other indigenous people's realities. In this dissertation, I argue that there is not a simple or straightforward way of thinking about indigenous identities without falling into the trap of essentialism and stereotyping. Indigenous people are not what remained of ancestral civilizations, nor are they either invented nor folklorized commodities produced by ―neo-shamanism‖ discourses. Recent theoretical contributions to the understanding of the relationship of native peoples with their territories have been fundamental to rethinking the meanings of indigeneity, but I argue that they continue to essentialize indigenous people relations with their past and the ways in which they are understood in the present. -
Rock Art of the Sacred Precinct at Mata Ngarau, 'Orongo
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 22 Issue 2 October Article 6 2008 ROCK ART OF THE SACRED PRECINCT AT MATA NGARAU, 'ORONGO Paul Horley Yuri Fedkovych Chernivtsi National University Georgia Lee Easter Island Foundation Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific Islands Commons, and the Pacific Islands Languages and Societies Commons Recommended Citation Horley, Paul and Lee, Georgia (2008) "ROCK ART OF THE SACRED PRECINCT AT MATA NGARAU, 'ORONGO," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 22 : Iss. 2 , Article 6. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol22/iss2/6 This Research Paper is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. Horley and Lee: ROCK ART OF THE SACRED PRECINCT AT MATA NGARAU, 'ORONGO ROCK ART OF THE SACRED PRECINCT AT MATA NGARAU, 'ORONGO Paul Horley Yuri Fedkovych Chernivtsi National University Georgia Lee Easter island Foundation INTRODUCTION rock surfaces are covered with numerous petroglyphs, creating the highest concentration ofrock art on Easter Island (Lee he ceremonial village of 'Orongo is one of the most 1992: 137). Due to intensive activity over a significant fascinating and important sites on Easter Island. historical period, the rocks of Mata Ngarau present evidence TLocated at the top ofRano Kau's precipitous cliffs, ofre-use and re-carving, allowing us to trace the evolution of 'Orongo offers awe-inspiring views toward the three off-shore petroglyph motifs from simple, incised fom1s to elaborate, islets of Motu Kao Kao, Motu Iti, and Motu Nui. -
UCI3450 01.Pdf
Indice Propuesta de trabajo……………………………………………….1 - 7 - Rapa nui desde el diseño - Exhibición y conservación - Museo natural y de interior - Arte y artesanía Primera etapa de proyecto…………………………………………8 - 25 - Empresa del moai (moai camina) - Aparición y erguido del moai - Tamaños y traslado del moai (teorías de traslado). Segunda etapa……………………………………………………..25 - 50 - Turismo y artesanía - Exhibir y proteger de la artesanía - Primeros prototipos - Exhibir, proteger e informar - Seguridad y transporte - Integración grafica y transparencia - Exponer figurativo Ultima etapa………………………………………………………...50 - 60 - Ultimas propuestas - Prototipos finales, del exponer proteger e informar - grafica y planos - costo de producción Otros diseños…………………………………………...................60 - 65 - exponer iluminado (luz de rapa nui) - prototipos lámparas denui Prologo En el privilegio de pertenecer a una tierra nativa llamada rapa nui, y el hecho de obtener las herramientas necesarias por parte del diseño, me lleva a crear un vínculo entre estos dos mundos. El siguiente proyecto esta enfocado en la difusión cultural de rapa nui, como etnia viva perteneciente a la polinesia y a nuestro país. De su legado imponente se toma la iniciativa de intervenir rapa nui desde el diseño, con el propósito de expandir y conservar las raíces culturales. Rapa nui ubicada a 3800 kilómetros del continente, se da a conocer a través de su cultura, la cual se fortalece principalmente con sus grandes estatuas llamadas moai, con su escritura kohou rongo-rongo, sus leyendas y hasta sus mínimos utensilios y objetos. Estos poseen una riqueza ancestral que esta directamente relacionada con la perfección de forma, la cual trasciende durante el tiempo, luego, este trabajo comienza a desarrollarse en este trascender de rapa nui. -
Rapa Nui Journal 2#3 Fall 1988
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 2 Article 1 Issue 3 Rapa Nui Journal, Fall 2988 1988 Rapa Nui Journal 2#3 Fall 1988 Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons Recommended Citation (1988) "Rapa Nui Journal 2#3 Fall 1988," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 2 : Iss. 3 , Article 1. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol2/iss3/1 This Research Report is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. et al.: Rapa Nui Journal 2#3 Fall 1988 the premier source for current Easter Island events and scientific studies... Special Conservation and Preservation Issue ................................................................................................................................................... .•• ••·••••• g~6ig~~e~;~~~p .•••·.·.: On Other Islands... THE DESTRUCTION .. ··r;iihti~heflC&er.a[FditOr . .•.•• Hxliritiiv~~tlf~k~{· TROUBLE IN PARADISE WROUGHT .... ··············)(EdiiM>·..······ .. PROBLEMS IN POLYNESIAN ROCK ART BY TOURISM ka~·jJJij~J~~;i·~.~·i~~~~~ CONSERVATION ...••••··•••••• •••• A Preliminary Field Report J. Douglas Porteous • tulti~naliie~s1(ift.;.pUbiish~f •four 9mesaYear£6dheJ)eri~ from the 1988 Lana'i Rock Art Project In my bookThe Modernization o/EasterIsland fifoE those interestediliEaster This year's August-September project to rec · Island ari~rolYri~~Ul. ........•............ (porteous 1981), I note that academic interest in ord the rock art of Lana'i, Hawai'i specifically Rapanui has overwhelmingly concentrated upon ti~1~j;JJf6~~~~~7~:~4:n;::· . -
Robert Lehman Papers
Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General -
Paintings from Museum Collection with 4 Checklists
THE MUSEUM OF MODERN ART ""^ V tt WIST 53 STREET, NEW YORK 19, N. Y. TiiiPHONEt CIRCLE 5-8*oo pQP RELEASE: SUNDAY October 17, 195^ PRESS PREVIEW: TUESDAY October 12, 1951*, 2-5 p.m. No. 88 PAINTINGS FROM THE MUSEUM COLLECTION OPENS MUSEUM OF MODERN ART'S 25th ANNIVERSARY YEAR CELEBRATION Four hundred paintings from the world-famous collection of the Museum of Modern Art, 11 West 55 Street, New York, will go on exhibition in a grand review of the pictori al art of our time on Wednesday, October 20. PAINTINGS FROM THE MUSEUM COLLECTION is the opening exhibition of the Museum's 25th Anniversary year-long celebration and is the most comprehensive showing thus far presented of this section of the Col lection. Over a third of the pictures acquired by the Museum since it was founded are shown. Fifty paintings, recently added to the Collection, including several not seen in this country before, are included in the exhibition which has been installed in newly arranged galleries by Alfred H. Barr, Jr., Director of Museum Collections, and Dorothy C. Miller, Curator. The exhibition will remain on view through the end of this year and will be closed in sections during January. This is the first time in its history that so many of the Museum galleries have been devoted to pictures from its own Collection, which is generally considered the most comprehensive in the world. The Collection includes works of art from the United States and Canada, Europe, Asia and Latin America dating from 1875 to the pre sent. -
Hakarongo Mai! Rapanui Women and Decolonisation for Development
Hakarongo Mai! Rapanui women and decolonisation for development Karly Gempp Christ 2012 A thesis submitted to Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master in Development Studies School of Geography, Environment and Earth Sciences Victoria University of Wellington Supervisors: Teresia Teaiwa and Warwick Murray This thesis is dedicated to women in the world who struggle against oppression in their lives and work towards a more just and equitable future for their families and their communities And to my mother, Annie Barnes, who is still the strongest woman that I know Acknowledgements My sincere thanks to the women in Makenu for sharing your time, stories and lives with me. The passion, dedication and commitment you have to your families, your community and your island is motivating and inspiring, and I am forever humbled by this experience. To other members of the Rapa Nui community who also participated in this project, helping me to understand and appreciate life on the island and the struggles of the Rapanui people. To Teresia Teaiwa for keeping me sharp, thoughtful and reflective throughout this process, and for the many chats that went beyond this work. To Warwick Murray for providing support throughout my three years of this degree, and always having faith in my ability and my potential to succeed. To John Overton, Warwick Murray and the Marsden project, White Poppy Peace Scholarship, Katherine Stewart Postgraduate Scholarship, DF McKenzie Award, Lady Stout Bursary, and Katherine Pattison Memorial Award, for the financial support that made this project possible. To Riet for so many things, but especially for taking me in, sharing your knowledge, and becoming a special friend. -
Edward W. Root's Art Library Within a Year of His Death, Approximately
Edward W. Root’s Art Library Within a year of his death, approximately seven hundred art-related books and periodicals were transferred from Edward Root’s home in Clinton, N.Y. to the Munson-Williams-Proctor Arts Institute’s Art Reference Library. These volumes were part of a much larger collection Edward and Grace Root assembled during their lives. In 1919, the Institute’s founding charter called for the establishment of an “auxiliary library” to complement its museum, art school, and music programs, but around 1956 when Root died the collection numbered fewer than two thousand volumes. Root’s titles increased the size of the Institute’s library by approximately one third. This gift was mentioned in the Institute’s 1956-1957 year book and the Museum’s 1961 exhibition catalog, the Edward Wales Root Bequest. While not the largest donation the Institute’s library has ever received, Root’s collection is certainly one of the most valuable because it reflects the art- historical interests of an individual who played a key role in shaping the scope and character of the Museum’s permanent collection, as well as reinforcing the library’s role as a scholarly resource for research on the permanent collection. At the time of the bequest, no record was prepared of the titles Root gave the Institute. However, the following subject categories that were listed on a checklist of the thirty-eight packing cartons that were shipped from Clinton to the Institute provide an overview of Root’s wide-ranging interests: European painting and architecture; American art and architecture; European and American sculpture; prints and printmaking; “minor” arts; photography and film; “exotic” art; mixed media; art history, theory and criticism; and periodicals.