anthropology of art

is concerned with whether separate domain of aesthetic objects (or practices) exist in different cultures.

Does a separate domain of aesthetic objects (or practices) exist in different cultures (Marcus and Myer p.1)

is the study of social relations in the vicinity of objects mediating social agency.

In the introduction to Art and Agency, Gell offers a provisional definition of the anth ropology of art as the sn1dy of 'social relations in the vicinity of objects mediating social agency' (Gell 1998: 7). Art is thus constn1ed as a systen1 of action... and one of the fundamental conditions for action is time. Other conditions also obtain, of course, but for .1., . . . ..L., ti1ne is the most salient, for several reasons. Gell >vishes to analyse not simply action but social agency. Thjs he holds to be the central task of the aniliropologist, 'vho vorks 'by locating, or contexn1alising behaviour not so 1nuch u1 'culture' (vluch is an abstraction) as in the dynamics of social interaction, which may U1deed be Conditioned by 'culture,, but Vhich is better seen as a rea l process, or dialectic, unfolding in time' (ibid.: 10). Such a viev of anthropology lends the discipline what Gell describes as 'a particu lar depth of focus' (ibid., emphasis retained). Anthropology 'tends to focus on the 'act' in the context of the ' life' or 1nore precisely the stage of life of the agent' (ibid.). This focus has profound consequences, both positive and negative, for an anthropological theory of art and also for the relationship of that theory to art hjstory. The consequences become apparent as the argi11nent of Art and Agency unfolds. Gell's definition of anthropology and his fidelity to the biographical oblige hin1 to develop an account of the abduction of agency. It is in this context that the subtitling of the book as 'an anthropological t11eo1y' takes on its full significance... Gel l's definition of anthropology in fact generates his theory of art. He proposes 'that 'art-like situations' cai1 be discriminated as those in vluch the material 'index' (the visible, physical 'thing') permits a particular cognitive operation', an operation Gell identifies as t11e abduction of agency, that is, one u1 \rluch ilie 'index is itself seen as the OtJ-tco1'ne, and/or the instr1-t.wtent of, social agency' (Gell 1998: 13, 15, emphasis retained). This theory of abduction is richly and provocatively developed over the course of Gell's book... here I cannot atte1npt to do justice to all lus aigiunents, and 'vill confine myself to their potential contribution to art history.

anthropology of art, n.Definitions

anthropology of art