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TitleDateReferenceAuthorsCall #ISSN
Bark painting of Arnhem Land, Australia: the Western reception 1960-19902021 World art 11 (1): 1-39
  • Marie Geissler
H6 [WORLD-]2150-0908
The ritual role of pre-Columbian paper. The Amate paper collection of the National Ethnographic Museum in Warsaw2017/2018 Etnografia nowa 9/10: 430-65
  • Erika Krzyczkowska-Roman
H6/KVM [WARSAW. Panstwowe Muzeum Etnograficzne w Warszawie. Etnografia nowa]2080-8747in thematic issue 'Maria Frankowski and Eugeniusz Frankowski: creators of Polish Latin American and Iberian studies'; in thematic section 'Latin American studies'; also in Polish
From the baggage of Margaret Mead to that of La Korrigane: the curious story of a large biwat painting at the Musée du Quai Branly2013 Tribal art (68): 122-7
  • Christian Coiffier
*H6/KFY [WORLD-]1354-2990
Australian indigenous art from the desert and the Kimberley2012 Arts & cultures : 197-211
  • Arnaud Morvan
Sago bark painting and the transformation of community identity on the Arafundi River, East Sepik Province, Papua New Guinea2012 Pacific arts 12 (2): 5-23
  • Nancy Sullivan
*H6/KFY [PACIFIC-]1018-4252
Gender encompassment, and ritual: sago panel paintings of the Sawiyanoo of East Sepik province, Papua New Guinea2012 Pacific arts 12 (1): 20-34
  • Philip Guddemi
*H6/KFY [PACIFIC-]1018-4252
Ancestors of the lake: art of Lake Sentani and Humboldt Bay2011 Tribal art 60: 94-103
  • Virginia-Lee Webb
*H6/KFY [WORLD-]1354-2990
'Scenes hidden from our eyes' - Theodore Bevan's collection from the Gulf of Papua in the South Australia Museum2010 The artefact 33: 30-48
  • Barry Craig
H6/KE [ARTEFACT-]0044-9075in special issue in honour of Ron Vanderval 'Southern New Guinea & Torres Strait'
Karel Kupka and the master painters of Arnhem Land. The biography of an Aboriginal art collection2010 Gradhiva: revue de anthropology et museologie 12: 198-217
  • Jessica De Largy Healy
H6 [GRADHIVA-]0764-8928English summary
Port Keats painting: revolution and continuity2008 Australian Aboriginal studies (1): 39-55, [insert, figs. 1, 2a-2b, 3-4]
  • Graeme K. Ward
  • Mark Crocombe
H6/KX [AUSTRALIAN-]0729-4352
Negotiating form in Kuninjku bark-paintings2008 Australian Aboriginal studies (1): 56-66, [insert, figs. 5, 7, 9]
  • Luke Taylor
H6/KX [AUSTRALIAN-]0729-4352
'They may say tourist, may say truly painting': aesthetic evaluation and meaning of bark paintings in western Arnhem Land, northern Australia2008 Journal of the Royal Anthropological Institute (New Series) 14 (4): 865-85
  • Luke Taylor
H6 [JOURNAL-]1359-0987French summary
So near, and yet so far2005 Museums journal 105 (9): 14-15
  • Patrick Greene
*H6 [MUSEUMS-]0027-416X
Masks of the upper Amazon2004 Arts and cultures 5: 101-13
  • Helmut Schindler
Transitional traditions: 'Port Essington' bark-paintings and the European discovery of Aboriginal aesthetics2004 Australian Aboriginal studies (2): 72-85
  • Paul S. C. Taçon
  • Susan M. Davies
H6/KX [AUSTRALIAN-]0729-4352
L'étrange voyage d'une peinture du Sépik: de Kinakatem à Paris2003 Journal de la Société des Océanistes 116 (1): 77-97
  • Christian Coiffier
0300-953English summary
Exhibiting Aboriginal industry: a story behind a 're-discovered' bark drawing from Victoria2003 Aboriginal history 27: 39-58
  • Elizabeth Willis
H6/KX [ABORIGINAL-]0311-8769
Birchbark - ssípsis2003 American Indian NMAI 4 (1): 20-1
  • Nance Ackerman
Bark vessels from the region of Arkhangel'sk (Russia)2000 Zhivaia Starina (NS) 3: 46-8
  • Vasilii Ivanovich Smirnov
H6/KVY 'ZHIVAIA-'0204-3432with introduction by A M Reshetov
Painting local meanings, domesticating money: Nahuatl bark cloth artists of Mexico1996 Museum anthropology 20 (3): 11-25
  • Catharine L. Good