Chapter 5 – Aesthetics: Engaging with Indigenous Art

The chapter “Aesthetics: Engaging with Indigenous Art” explores Western societies’ historical treatment of Indigenous art and how it has evolved to be recognized as fine art. It examines the re-evaluation of Indigenous arts as art forms and the unique traditions and assumptions surrounding them. The chapter discusses the opening of the Quai Branly Museum in Paris in 2006 and its significance in recognizing Indigenous arts as equal to any other art form. It also delves into the debate surrounding the museum’s establishment and the patronization and categorization of Indigenous art objects, raising questions about aesthetic appreciation and valuation.

The chapter is divided into three sections. The first section delves into the history of Western societies’ recognition and appreciation of Indigenous art, shedding light on its evolution from being perceived as curiosities to being esteemed as an art form. The second section discusses the opening of the Quai Branly Museum and its political statement about the equality of all cultures and their artistic expressions. It also addresses the issues regarding presenting and appreciating Indigenous art within the museum.

The third section of the chapter focuses on categorizing Indigenous art objects and the implications of such categorizations for their evaluation and aesthetic appreciation. It raises questions about the differences between appreciating an object as a household item, a ceremonial piece, or a work of art and the need to consider its cultural, religious, and social significance.

Overall, the chapter illuminates the complex history and evolving recognition of Indigenous arts as fine art while highlighting the ongoing debates and challenges surrounding the appreciation and valuation of Indigenous art objects within Western art institutions.