San Francisco Tribal & Oceanic Art, New York Tribal & Oceanic Art, Los Angeles Asian & Tribal Arts Show

[caption id="attachment_2070" align="alignnone" width="577"] Tashkent Suzani, circa 1900 (detail). Photo Courtesy of Clive Rogers, England. [/caption]

Bill Caskey and Elizabeth Lees, Founders; Michael Harrison, Participating Dealer

You might not expect to see a living, breathing ancestral spirit straight off the boat from New Guinea sitting squarely in an art show in New York, Los Angeles or San Francisco, but that’s just what you’ll find at New York and San Francisco’s Tribal and Oceanic Art Shows and Los Angeles’s Asian and Tribal Arts Show.

Oceanic art dealer Michael Harrison can also be found here. “I’m very specialized in Oceanic art—an expert in this field,” he says. “I made 45 trips to New Guinea and have 15 years experience collecting, as well as an M.A. in African and Oceanic Art.”

Long a fascination for anthropologists and archaeologists, tribal and Oceanic art now fascinates collectors; it’s the talk of the art world. Says Bill Caskey, founder of these fairs, “People are just discovering it.”

The collector’s task: to distinguish between artifact and art. The show’s task: to evaluate the work. As such, these shows owe their reputation to a painstaking and rigorous authentication and selection process. “12 different committees have vetted the art and removed anything fake or overly restored before the doors open,” explains Caskey.

San Francisco Tribal & Oceanic Art,  New York Tribal & Oceanic Art, Los Angeles  Asian & Tribal Arts ShowCaskey started out collecting Mexican and Native American tribal art.  While he considers San Francisco Tribal and Oceanic Art his most important show, all of his events have caught the attention of curators who come to acquire Oceanic art—the work of peoples from Hawaii west to New Guinea—or African tribal art, often dark and unusual.

But there’s no glory here for the artists: they’re usually anonymous. Religious beliefs are more integral to the art than the artist’s personae.

For the dealer or collector, however, that reality poses certain occupational dangers. “If ancestral spirits are not treated in a respectful way, bad luck will come,” Harrison says. According to Harrison, the art world can be just as harsh. “You’re only as good as your best piece,”
he says.  

 

Pictured: Tatmal Maskette, Papua New Guinea. Photo courtesy of  TAD Tribal Art, Santa Fe, New Mexico.

 


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