Undermining the anthropological designations of “ethnic artifacts” and “ethnic art,” this survey of the massive collections of the Museum of World Cultures in Frankfurt approaches 130 of its works as both art and artifact simultaneously, raising aesthetic matters of form and color alongside contextual considerations. Masks, clubs, fans, spoons, tusks, dolls, necklaces, baskets, shields, cups, bags, headdresses and sculptures from countries in Africa, the Americas, Southeast Asia, Oceania and East Asia are all reproduced here, in full color and with contextualizing commentary. As debate on the status of ethnic artifacts continues to expand, with Being Object the Museum of World Cultures takes the lead among institutions in attempting to reorient the taxonomies of its collections.

Excerpt. � Reprinted by permission. All rights reserved.

"It is very hard for smaller, mostly non-competitive societies to claim their place in the 'worldmarket of cultures.' The presentation of ethnographic objects as 'art' makes it easier for the Western viewer to gain access to the hidden aspects of smaller societies, such as their philosophies, their religious beliefs, or their aesthetics. 'Masterpieces' let dignity shine through the oft-neglected cultures. In the worldwide competitive fight around the export of goods, many indigenous groups have only their art it is an area in which the individual, the special, indeed that which is different than universal trends and fashions obtains and preserves its own inherent values. In every form of art, whether it is expressed in language, music and movement or through the processing of materials, the individuals, families, clans and village communities of indigenous societies have proven themselves to be true 'masters.'"

Eva Ch. Raabe, Mona B. Suhrbier, Christine Stelzig, Achim Sibeth, excerpted from Art and Context in Being Object, Being Art.

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