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This text tells the complex story of how, over the past three decades, the acrylic dot paintings of central Australia were transformed into objects of international high art, eagerly sought by upscale galleries and collectors

Acrylic painting --- Art as an investment. --- Art, Pintupi --- Cultural property --- Painting, Aboriginal Australian --- Pintupi (Australian people) --- Marketing. --- Protection --- Material culture --- Pintupi (peuple d'Australie) --- Peinture aborigène d'Australie --- Peinture acrylique --- Art comme valeur de placement. --- Painting, Australian aboriginal --- Culture matérielle --- Marketing --- Kunst --- schilderen [kunst] --- Aboriginals --- Australië --- Art --- painting [image-making] --- Australia --- cultural property --- acrylic [plastic] --- Australian Aboriginal [culture and style] --- #breakthecanon --- Cultural heritage --- Cultural patrimony --- Cultural resources --- Heritage property --- National heritage --- National patrimony --- National treasure --- Patrimony, Cultural --- Treasure, National --- Property --- World Heritage areas --- Investments --- Alkyd painting --- Polymer painting --- Synthetic painting --- Painting --- Aboriginal Australian painting --- Paintings, Australian (Aboriginal) --- Bindabu (Australian people) --- Binddibu (Australian people) --- Bindibu (Australian people) --- Bindubi (Australian people) --- Bintubi (Australian people) --- Pintubi (Australian people) --- Pintubi (Australian tribe) --- Pintupui (Australian people) --- Aboriginal Australians --- Ethnology --- Pintupi art --- niet-westerse kunst --- acrylic [resin] --- Peinture aborigène d'Australie --- Culture matérielle

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"How do objects mediate human relationships, and possess their own social and political agency? What role does material culture--such as prestige consumption as well as commodity aesthetics, biographies, and ownership histories--play in the production of social and political identities, differences, and hierarchies? How do (informal) consumer subcultures of collectors organize and manage themselves? Drawing on theories from anthropology and sociology, specifically material culture, consumption, museum, ethnicity, and post-socialist studies, Materializing Difference addresses these questions via analysis of the practices and ideologies connected to Gabor Roma beakers and roofed tankards made of antique silver. The consumer subculture organized around these objects--defined as ethnicized and gendered prestige goods by the Gabor Roma living in Romania--is a contemporary, second-hand culture based on patina-oriented consumption. Materializing Difference reveals the inner dynamics of the complex relationships and interactions between objects (silver beakers and roofed tankards) and subjects (Romanian Roma) and investigates how these relationships and interactions contribute to the construction, materialization, and reformulation of social, economic, and political identities, boundaries, and differences. It also discusses how, after 1989, the political transformation in Romania led to the emergence of a new, post-socialist consumer sensitivity among the Gabor Roma, and how this sensitivity reshaped the pre-regime-change patterns, meanings, and value preferences of prestige consumption."--

Romanies --- Social life and customs. --- Romania. --- European antiques market. --- Gabor Roma. --- Material culture. --- Romanian Roma. --- authenticity. --- commodity ethnographies. --- ethnicity. --- interethnic trade. --- politics of difference. --- prestige consumption. --- socialism and post-socialism.

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Art and anthropology --- Postmodernism --- Art --- Art et anthropologie --- Postmodernisme --- Economic aspects --- Aspect économique --- #SBIB:39A5 --- #SBIB:316.7C200 --- Kunst, habitat, materiële cultuur en ontspanning --- Sociologie van de cultuuruitingen: algemeen --- Art and anthropology. --- Postmodernism. --- Aspect économique --- Post-modernism --- Postmodernism (Philosophy) --- Arts, Modern --- Avant-garde (Aesthetics) --- Modernism (Art) --- Philosophy, Modern --- Post-postmodernism --- Anthropology and art --- Anthropology

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Through the struggles of Indigenous Australians for recognition and self-determination it has become common sense to understand Australia as made up of both Indigenous and non-Indigenous people and things. But in what ways is the Indigenous/non-Indigenous distinction being used and understood? In The Difference Identity Makes, thirteen Indigenous and non-Indigenous academics examine how this distinction structures the work of cultural production and how Indigenous producers and their works are recognised and valued.The editors introduce this innovative collection of essays with a path-finding argument that 'Indigenous cultural capital' now challenges all Australians to re-position themselves within a revised scale of values. Each chapter looks at one of five fields of Australian cultural production: sport, television, heritage, visual arts and music, revealing that in each the Indigenous/non-Indigenous distinction has effects that are specific.This brings new depth and richness to our understanding of what 'Indigeneity' can mean in contemporary Australia. In demonstrating the variety of ways that 'the Indigenous' is made visible and valued the essays provide a powerful alternative to the 'deficit' theme that has continued to haunt the representation of Indigeneity.

Group identity --- Aboriginal Australians --- Culture --- Aboriginal Australians --- Indigenous peoples --- Culture --- Representation (Philosophy) --- Identity. --- Social conditions. --- History --- Australia --- Australia --- Australia --- Social life and customs --- Social life and customs --- Social conditions.