Dutton denies the  "evolution of these objects from magic to aesthetic" as he
denies that "they don't have our concept of art".

But we should also note that those "professional career artists" who  work in
traditional genres (Eskimo, Baule, Hopi, Balinese etc)  do not qualify for
display in art museums, even on a temporary basis.  In our modern world, their
work is only accepted as decorative.   It doesn't seem to qualify for the
notion of art as "the truth of beings setting itself to work"


For example, in 2006 , there was great exhibit of Pre-Columbian pottery from
Northern Mexico in at the Art Institute:

http://www.artic.edu/aic/exhibitions/casas.html

A few decades ago, this style was revived by Juan Quezada, creating a
flourishing cottage industry in a small Mexican village near the old Casas
Grandes archeological site.  But regardless of their commercial or aesthetic
success, their work is not going to be shown, even temporarily, in a major art
museum, or discussed in magazines like 'Art in America'.

Instead, some it was shown in the Field Museum of Natural History -- in both a
special gallery for living ethnic artists, and the gift shop.


A variety of contemporary as well as historic pieces is shown and discussed
here:


http://mountshang.blogspot.com/2008/11/transforming-tradition-pottery-from.ht
ml

............................................................

My point is that the original, adornment (status), and magical (healing and
power) purposes of tribal art, one so embedded in the work, is now almost
irrecoverable, not only by their makers but by everyone else as well.  They
become artworks in the Western sense and as vague reminders of what was once
integral to a culture.  The evolution of these objects from magic to aesthetic
is so thorough -- from magical to trade products to works of art-- that even
their makers, who regard themselves as professional career artists, can't
recover their original purposes.  At best they now make symbols of ancestral
magic, sentimental myth narration, exactly like the modern sculptor who
carves
a statue of Christ without for a second believing that the work IS Christ or
can produce miracles.

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