Table of Contents

List of images Preface (NT) General Introduction (NT) Part 1: Anthony Forge on art, 1960-1990 1 Introduction to Primitive Art and Society 1973a 2 Three Kamanggabi figures from the Arambak people of the Sepik district 1960a 3 Notes on Eastern Abelam designs painted on paper, New Guinea 1960b 4 Paint, a magical substance. 1962 5 Art and environment in the Sepik. 1965 6 The Abelam artist. 1967 7 Style and meaning in Sepik Art. 1973b 8 The problem of meaning in art. Exploring the visual art of Oceania. 1979 9 Learning to see in New Guinea. 1970 10 The power of culture and the culture of power. 1990 11 Undated introduction to the proceedings from the second Wenner-Gren conference on Sepik Culture History 1986, Mijas, Spain. Part 2: On Forge 12 Anthony Forge and Alfred Buhler: From Field Collecting to Friendship Christian Kaufmann 13 Style and meaning: Abelam art through Yolngu eyes Howard Morphy 14 Anthony Forge and Innovation: perspectives from Vanuatu Lissant Bolton 15 The Problem of Agency in Art Ludovic Coupaye 16 Looking back, Abelam art and some of Forge's theses from a 2015 perspective Brigitta Hauser-Schaublin 17. Communicating with Anthony Forge Michael O'Hanlon Appendix: Forge's collections (Basel, NY, UCSD) Bibliography Acknowledgements

About the Author

Prof. dr. Anthony Forge was born in London in 1929. A student at Downing College, Cambridge, he studied anthropology with Edmund Leach, and went on to undertake research with Raymond Firth at the London School of Economics. Over 1958-63 he undertook several periods of fieldwork among the Abelam of the Sepik region of Papua New Guinea, made major collections for the Museum der Kulturen, Basel, and went on to write a series of essays which were enormously influential for the anthropology of art and for studies of Melanesia. He was appointed Foundation Professor of Anthropology at the Australian National University in 1974 and taught there until his death in 1991. Dr. Alison Clark is a Research Associate at the Museum of Archaeology and Anthropology, University of Cambridge. She currently works on the ERC funded Pacific Presences project. Both her masters (2007) and PhD (2013) theses on the Indigenous Australian collections of the British Museum drew on the work of Anthony Forge. Her current research is focused on Kiribati, where she is interested in the contemporary resonance of historic museum collections, and the revival of certain cultural practices. She has previously worked on projects at the British Museum, and the October Gallery in London. Key publications: 2014, 'What Happens Next? Sustaining Relationships Beyond the Life of a Research Project', Journal of Museum Ethnography, No.27. 2013, 'Eliciting a History, Reflections on a Photograph Album', in Adams, Burt, Bonshek, Bolton and Thomas (eds.) Melanesia Art and Encounter 2013 pp.64-66 Prof. Dr. Nicholas Thomas was an undergraduate at the Australian National University from 1979 to 1982; his BA (Honours) thesis, on Fijian politics, was supervised by Anthony Forge. He visited the Pacific first in 1984 to undertake doctoral research in the Marquesas Islands and has since written extensively on exploration and cross-cultural encounters and on art histories in the Pacific. He has been Director of the Museum of Archaeology and Anthropology in Cambridge since 2006. Key publications: 2016, (with Maia Nuku, Julie Adams, Billie Lythberg and Amiria Salmond) Artefacts of Encounter: Cook's Voyages, Colonial Collecting and Museum Histories. Otago: Otago University Press. 2016, The return of curiosity: what museums are good for in the twenty first century. London: Reaktion / Chicago: University of Chicago Press. 2012, (with Peter Brunt, Sean Mallon, Lissant Bolton, Deidre Brown, Damian Skinner and Susanne Kuechler) Art in Oceania: a new history. London: Thames and Hudson / New Haven: Yale University Press. Awarded the Art Book Prize

Reviews

"...a very important reference for students in the anthropology of art. Moreover, this compilation of eleven of Forge's papers is accompanied by an excellent introduction by Nicholas Thomas, and a collection of essays on his work by contemporary anthropologists, some of whom worked with Forge, or in the same area [...] Style and meaning includes a previously unpublished paper, and is lavishly illustrated with many images of excellent quality."--Roger Sansi, Universitat de Barcelona "Journal of the Royal Anthropological Institute, Vol 27, Issue 1"