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|a Tiki Pop: America Imagines Its Own Polynesian Paradise
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|a With the exception of the museum president's foreword to the book, the Quai Branly's silence on these kinds of connections is a reflection of its hands-off approach to temporary exhibitions, often installed as prepackaged productions that constitute stand-alone events driven more by outside interests than by any logic or sensibilities of the host institution.\n Some might argue that this book and exhibit are not the place for such complexity. When political history does creep in, the problems of cultural destruction and loss pertain not to the destruction of indigenous art, language, and culture, but to the threat to the survival of tiki culture. [...]at the end of the book, the author describes the ominous period of "tiki devolution" (343) during the 1960s and 1970s in which "postwar baby boomers" rejected dominant values of their parents and discarded an interest in fetishizing primitive art motifs.
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|a Tourism
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|a Art exhibits
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|a Baby boomers
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|a Aesthetics
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|i Enthalten in
|t The contemporary Pacific
|d Honolulu, Hawaii : Univ. of Hawaii Press, 1989
|g 27(2015), 2, Seite 560
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