Aesthetic primitivism revisited: The global diaspora of ‘primitive art’ and the rise of indigenous modernisms

Abstract

This paper examines the global export of the construct of primitive art which developed in Europe in the early-twentieth century and the catalytic role it played in the emergence of modernist art forms produced by Indigenous peoples. It argues for the need to distinguish between sociological primitivism grounded in cultural evolutionist theory and the aesthetic primitivism promoted by artists, ethnologists and patrons who admired and appropriated the traditional arts of non-Western peoples classified as 'primitive.' Case studies of two refugees from Nazi Europe, German ethnologist Leonhard Adam and Austrian artist George Swinton, demonstrate the tension between received understandings of primitive art and these men's growing awareness, following emigration, of Indigenous modernities. It also led to their active promotion of modern Australian Aboriginal and Inuit arts, despite the undoubted links between aesthetic primitivism and the oppressive assimilationist policies justified through sociological primitivism.

Keywords

• aesthetic primitivism
• indigenous modernisms
• Leonhard Adam
• George Swinton
• Inuit art
• Australian Aboriginal art