The Antique Tribal Art Dealers Association (ATADA), was founded in 1988, by a group of independent antique tribal art dealers to form a professional association of dealers that would provide education for the public and set standards for the trade. They recognized that tribal and ethnographic art had reached a level of specialization found in other art fields and were concerned by the volume of misidentified and pastiche materials on the market. [1] Members offer buyers a guarantee that objects they sell are as represented regarding age, authenticity and extent of restoration.
The ATADA is a non-profit membership organization of respected and established tribal art dealers from across the United States. ATADA was formed to represent professional dealers of antique tribal art. Their objectives are to promote professional conduct among dealers and to educate the public in the valuable role of tribal art in the wealth of human experience. The organization's highest-priority goals, are: 1) to encourage the public to educate themselves in the cultures these objects represent and the roles they played within the cultures; and 2) to provide a set of standards for the trade and present ourselves to the public as a trustworthy association of art dealers adhering to the tenets outlined in ATADA bylaws.
Included in the ATADA goals statement is the assurance that "the materials and goods utilized or accorded reverence by functioning religious or cultural communities, as part of their system of religious beliefs or practices, should receive appropriate protection from commercial exploitation and market pressures. Tribal leaders, dealers in tribal arts and appropriate government officials should work together to establish norms and procedures for ensuring that protection. Concern for the protection of legitimate, ongoing religious beliefs and practices, however, should not constitute grounds for objection to trade in objects that are no longer of religious significance to any extant culture, whether due to extinction of the religious system or the fact that the object itself has lost whatever religious significance it might once have had. Nor should such concerns interfere with the right of the legitimate owners of ceremonial objects to dispose of those objects as they see fit, as long as no applicable laws are violated." [2]
The ATADA currently publishes The ATADA News and The ATADA Membership Directory. The first issues of the ATADA Newsletter were published in 1988, first edited by Gary Spratt, then by Ramona Morris, then by Gordon Lorenzo Fritz, then by Alice Kaufman. The name of the publication is now the ATADA News. [3]
Members are generally regarded as authorities in the field of antique tribal art. ATADA Members are required to uphold ethical standards as defined in the ATADA Bylaws, and must agree to honor the ATADA guarantee of authenticity and condition for all American Indian and Tribal Art sales. In addition to demonstrating a commitment to enriching the cultural lives of their communities, members share their expertise through significant exhibition, informative catalogs, and by offering quality works of art whose authenticity is unconditionally guaranteed.
The "2009-2010 ATADA Members Gallery and Directory" lists members by surname and allows them to post a full-color, annotated image of some of their best available pieces. ATADA has vetted the images of all objects displayed, while each member retains responsibility for authenticating and identifying their own objects. Each ATADA member has pledged to honor the guarantee of authenticity and condition. [2]
On February 24, 2006 the ATADA launched a Lifetime Achievement Award "for contributions to the understanding and preservation of tribal art". [4]
The organization’s budget for 2020 was $122,111. [5]
ATADA has worked in association with promoters to help vet their shows, recruiting a group of qualified volunteer experts. ATADA vetters assisted at the Santa Fe Historic Indian and World Tribal Arts show in 2006 and The Marin Art of the Americas show in San Rafael, California in 2007. It is an ATADA goal that vetted shows will soon become the standard.
The ATADA Lifetime Achievement Awards recognize and celebrate the outstanding accomplishments and contributions of people whose work has been both groundbreaking and instrumental to the fields of American Indian and Tribal art.
Year | Name |
---|---|
2007 | Martha Hopkins Struever (American Indian art dealer, author) Quintus & Mary Herron (philanthropists, tribal art collectors) John and Anne Summerfield (scholars who donated their collection of Minangkabau textiles (Sumatra, Indonesia) to the Fowler Museum of Cultural History at UCLA Stuart McKee Struever (archeologist) Warren M. Robbins (founder National Museum of African Art at the Smithsonian Institution) |
As of 2020, Robert Gallegos is the Executive Director. [6]
A museum is a building or institution that cares for and displays a collection of artifacts and other objects of artistic, cultural, historical, or scientific importance. Many public museums make these items available for public viewing through exhibits that may be permanent or temporary. The largest museums are located in major cities throughout the world, while thousands of local museums exist in smaller cities, towns, and rural areas. Museums have varying aims, ranging from the conservation and documentation of their collection, serving researchers and specialists, to catering to the general public. The goal of serving researchers is not only scientific, but intended to serve the general public.
Authentication is the act of proving an assertion, such as the identity of a computer system user. In contrast with identification, the act of indicating a person or thing's identity, authentication is the process of verifying that identity. It might involve validating personal identity documents, verifying the authenticity of a website with a digital certificate, determining the age of an artifact by carbon dating, or ensuring that a product or document is not counterfeit.
The Native American Graves Protection and Repatriation Act (NAGPRA), Pub. L. 101-601, 25 U.S.C. 3001 et seq., 104 Stat. 3048, is a United States federal law enacted on November 16, 1990.
An antique is an item perceived as having value because of its aesthetic or historical significance, and often defined as at least 100 years old, although the term is often used loosely to describe any object that is old. An antique is usually an item that is collected or desirable because of its age, beauty, rarity, condition, utility, personal emotional connection, and/or other unique features. It is an object that represents a previous era or time period in human history. Vintage and collectible are used to describe items that are old, but do not meet the 100-year criterion.
Art forgery is the creating and selling of works of art which are falsely credited to other, usually more famous artists. Art forgery can be extremely lucrative, but modern dating and analysis techniques have made the identification of forged artwork much simpler.
A 1:1 replica is an exact copy of an object, made out of the same raw materials, whether a molecule, a work of art, or a commercial product. The term is also used for copies that closely resemble the original, without claiming to be identical. Also has the same weight and size as original.
The Institute of Conservation(Icon) is the professional charitable body, representing and supporting the practice and profession of conservation. It has around 2500 members worldwide, including professional conservators, scientists and teachers involved with the care of heritage objects and buildings.
An art dealer is a person or company that buys and sells works of art, or acts as the intermediary between the buyers and sellers of art.
The Association on American Indian Affairs is a nonprofit human rights charity located in Rockville, Maryland. Founded in 1922, it is dedicated to protecting the rights of Native Americans.
Martha Hopkins Struever (1931–2017) was an American Indian art dealer, author, and leading scholar on historic and contemporary Pueblo Indian pottery and Pueblo and Navajo Indian jewelry. In June 2015, a new gallery in the Wheelwright Museum of the American Indian, was named for her. The first permanent museum gallery devoted to Native American jewelry, the Martha Hopkins Struever Gallery, is part of the Center for the Study of Southwestern Jewelry.
Tribal art is the visual arts and material culture of indigenous peoples. Also known as non-Western art or ethnographic art, or, controversially, primitive art, tribal arts have historically been collected by Western anthropologists, private collectors, and museums, particularly ethnographic and natural history museums. The term "primitive" is criticized as being Eurocentric and pejorative.
A Cultural Property is administered by the Japanese government's Agency for Cultural Affairs, and includes tangible properties ; intangible properties ; folk properties both tangible and intangible; monuments historic, scenic and natural; cultural landscapes; and groups of traditional buildings. Buried properties and conservation techniques are also protected. Together these cultural properties are to be preserved and utilized as the heritage of the Japanese people.
The European Fine Art Fair is an annual art, antiques and design fair organized by The European Fine Art Foundation in the MECC in Maastricht, Netherlands. It was first held in 1988. The ten-day fair attracts about 75,000 visitors and is considered one of the world's leading art fairs.
Authenticity in art is manifest in the different ways that a work of art, or an artistic performance, can be considered authentic. The initial distinction is between nominal authenticity and expressive authenticity. In the first sense, nominal authenticity is the correct identification of the author of a work of art; of how closely an actor or an actress interprets a role in a stageplay as written by the playwright; of how well a musician's performance of an artistic composition corresponds to the composer's intention; and how closely an objet d’art conforms to the artistic traditions of its genre. In the second sense, expressive authenticity is how much the work of art possesses inherent authority of and about its subject, and how much of the artist's intent is in the work of art.
The British Antique Dealers' Association was founded in London, 1918. It is Britain's leading trade association for art and antique dealers and its members are carefully vetted and selected for their experience and professional integrity, as well as the quality and craftsmanship of their stock. Many BADA members are internationally recognised for their expertise in their chosen field of speciality. Customers can bring complaints against individual members to the governing body who have the power to revoke membership from an offending business and ban them from participating at various art fairs around the world.
The Western Association for Art Conservation (WAAC) is a nonprofit regional membership organization for conservation professionals based in the Western United States, although membership is open to all irrespective of geographical location.
The art market is the marketplace of buyers and sellers trading in commodities, services, and works of art.
Deaccessioning is the process by which a work of art or other object is permanently removed from a museum's collection to sell it or otherwise dispose of it.
Folk and traditional arts are rooted in and reflective of the cultural life of a community. They encompass the body of expressive culture associated with the fields of folklore and cultural heritage. Tangible folk art includes objects which historically are crafted and used within a traditional community. Intangible folk arts include such forms as music, dance and narrative structures. Each of these arts, both tangible and intangible, was originally developed to address a real need. Once this practical purpose has been lost or forgotten, there is no reason for further transmission unless the object or action has been imbued with meaning beyond its initial practicality. These vital and constantly reinvigorated artistic traditions are shaped by values and standards of excellence that are passed from generation to generation, most often within family and community, through demonstration, conversation, and practice.