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https://monoskop.org/images/8/87/Foster_Hal_1995_The_Artist_as_Ethnographer.pdf
Today there is a related paradigm in advanced art on the left: the artist as ethnographer. The object of contestation remains, at least in part, the bourgeois institution of autonomous art, its exclusionary definitions of art, audience, iden tity. But the subject of association has changed: it …
https://pdflibrary.files.wordpress.com/2008/02/artistethnographer.pdf
The Artist as Ethnographer? Hal F0.r.k~ My title is meant to evoke "The Author as Producer," the text of which Walter Benjamin first presented at the Institute for the Study of Fascism in Paris in Apd 19%. There, under the influence of Berthold Brecht and Russian revolutionary culture, Benjamin (1978) called on the artist on the left "to side ...
https://infiltratemathematics.wordpress.com/2017/10/06/artist-as-ethnographer/
Oct 06, 2017 · the ethnographer envies the artist’s reflexivity, while the artist envies the ethnographer’s access to an ‘other’ that has various properties attributed to it “…this setup can promote a presumption of ethnographic authority as much as a questioning of it, an evasion of institutional critique as often as an elaboration of it.”
http://csmt.uchicago.edu/annotations/fosterartist.htm
Chapter 6 of his book, “The Artist as Ethnographer,” deals specifically with what Foster dubs the “ethnographic turn” in art of since the 1960s. Foster’s argument is in part guided by his opening reference to Walter Benjamin’s “The Artist as Producer.”
http://www.corner-college.com/udb/cpro2ZgGKfArtist_As_Ethnographer.pdf
ethnographer. T h e object of contestation remains, at least in part, the bourgeois institution of autonomous art, its exclusionary definitions of art, audience, iden- tity. But the subject of association has changed: it is now the cu ltu ral an d /o r eth- nic other i n w hose n a m e the artist often stru ggles. A nd yet, despite this sh ift ...
https://www.ibraaz.org/essays/11
Jun 01, 2011 · Hal Foster, 'The Artist as Ethnographer?' From the flurry of interest emanating from exhibitions, publications, and other initiatives since September 11, anthropologist Kirsten Scheid infers that 'all signs suggest an imminent flourishing in the study of contemporary Arab art'. I
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