Max Carocci is Adjunct Professor of Art History and Visual Culture at the Richmond American University in London. Stephanie Pratt is formerly Associate Professor of Art History at the University of Plymouth, UK.

This lively, diverse, and highly original volume explores – from interdisciplinary,intercultural, and transhistorical perspectives, and with respect to both aestheticsand epistemology – the role of graphic illustration in mediating colonial andpostcolonial encounter and knowledge production for settlers and Indigenouspeoples, anthropologists and artists alike.

• List of Illustrations List of Contributors IntroductionPart I: Drawing as Method1: The question of expression when using art as a research method in anthropology: notes for the anthropologist-artistPaola Tiné2: Pictorial Ethnographies of the Solomon IslandsBen Burt3: “You have to be a draughtsman to be an ethnographer!”. The Legacy of Giuseppe “Bèpo” Šebesta in Ethnographic MuseographyGiovanni Kezich and Antonella MottPart II: The Production of Indigenous Visual Knowledge4: Pictorialization as resource in the Cameroon Grassfield: Ibrahim Njoya’s illustrations for the History and Customs of the Bamum (1927-1930)Simon Dell5: Owning the Image: Indigenous children claim visual sovereignty far from homeJacqueline Fear-Segal6: Graphically speaking: the stories told by Northwest Coast printsIndia YoungPart III: Political Economies of Art7: Ethnographic study of 19th century Kathmandu through artworksSanyukta Shrestha8: Like a porcupine: holy wounds in Spanish AmericaPeter Mason9: Art and the limits of representation: Portraits and portrayals of Mid-western Indigenous peoples in the early United States republicStephanie Pratt10: Interpreting art and ethnography in George Catlin’s Selection of Indian PipesAnnika JohnsonIndex

Max Carocci is Adjunct Professor of Art History and Visual Culture at the Richmond American University in London. Stephanie Pratt is formerly Associate Professor of Art History at the University of Plymouth, UK.

This lively, diverse, and highly original volume explores – from interdisciplinary,intercultural, and transhistorical perspectives, and with respect to both aestheticsand epistemology – the role of graphic illustration in mediating colonial andpostcolonial encounter and knowledge production for settlers and Indigenouspeoples, anthropologists and artists alike.

• List of Illustrations List of Contributors IntroductionPart I: Drawing as Method1: The question of expression when using art as a research method in anthropology: notes for the anthropologist-artistPaola Tiné2: Pictorial Ethnographies of the Solomon IslandsBen Burt3: “You have to be a draughtsman to be an ethnographer!”. The Legacy of Giuseppe “Bèpo” Šebesta in Ethnographic MuseographyGiovanni Kezich and Antonella MottPart II: The Production of Indigenous Visual Knowledge4: Pictorialization as resource in the Cameroon Grassfield: Ibrahim Njoya’s illustrations for the History and Customs of the Bamum (1927-1930)Simon Dell5: Owning the Image: Indigenous children claim visual sovereignty far from homeJacqueline Fear-Segal6: Graphically speaking: the stories told by Northwest Coast printsIndia YoungPart III: Political Economies of Art7: Ethnographic study of 19th century Kathmandu through artworksSanyukta Shrestha8: Like a porcupine: holy wounds in Spanish AmericaPeter Mason9: Art and the limits of representation: Portraits and portrayals of Mid-western Indigenous peoples in the early United States republicStephanie Pratt10: Interpreting art and ethnography in George Catlin’s Selection of Indian PipesAnnika JohnsonIndex

Max Carocci is Adjunct Professor of Art History and Visual Culture at the Richmond American University in London. Stephanie Pratt is formerly Associate Professor of Art History at the University of Plymouth, UK.

This lively, diverse, and highly original volume explores – from interdisciplinary,intercultural, and transhistorical perspectives, and with respect to both aestheticsand epistemology – the role of graphic illustration in mediating colonial andpostcolonial encounter and knowledge production for settlers and Indigenouspeoples, anthropologists and artists alike.

• List of Illustrations List of Contributors IntroductionPart I: Drawing as Method1: The question of expression when using art as a research method in anthropology: notes for the anthropologist-artistPaola Tiné2: Pictorial Ethnographies of the Solomon IslandsBen Burt3: “You have to be a draughtsman to be an ethnographer!”. The Legacy of Giuseppe “Bèpo” Šebesta in Ethnographic MuseographyGiovanni Kezich and Antonella MottPart II: The Production of Indigenous Visual Knowledge4: Pictorialization as resource in the Cameroon Grassfield: Ibrahim Njoya’s illustrations for the History and Customs of the Bamum (1927-1930)Simon Dell5: Owning the Image: Indigenous children claim visual sovereignty far from homeJacqueline Fear-Segal6: Graphically speaking: the stories told by Northwest Coast printsIndia YoungPart III: Political Economies of Art7: Ethnographic study of 19th century Kathmandu through artworksSanyukta Shrestha8: Like a porcupine: holy wounds in Spanish AmericaPeter Mason9: Art and the limits of representation: Portraits and portrayals of Mid-western Indigenous peoples in the early United States republicStephanie Pratt10: Interpreting art and ethnography in George Catlin’s Selection of Indian PipesAnnika JohnsonIndex