The German-American anthropologist Franz Boas (1858–1942) was one of the most protean and influential anthropologists of the twentieth century. In part based on his book Primitive Art (1927), this essay considers his theory of the beholder’s share in constructing the significance of visual form and in interpreting its meaning. Boas’s analysis of what he called “contradictions” between his indigenous informants’ exegeses of form lay at the heart of his conclusion that individual agents “read-in” to form some of the most crucial aspects of social experience that are most salient and specific to them. “Reading-in,” I argue, is the verbal speaking of visual “seeing-as,” and it infuses visual form with the diversity and particularity of a speaker’s grammatical choices undertaken within their natural human language(s). This model might now seem self-evident. At the time, however, it opened up the possibility of an “anthropology” of art and, to an extent as yet unrealized, the possibilities of its sociology and history. The essay evaluates Boas’s model in relation to other well-known accounts of the beholder’s share in art history, philosophy, and elsewhere and concludes with a discussion of the uptake of his idea in the “structuralism” of Roman Jakobson and Claude Lévi-Strauss.
“Reading-In”: Franz Boas’s Theory of the Beholder’s Share
Whitney Davis is Pardee Professor of History and Theory of Ancient and Modern Art and Chair of the Department of History of Art at the University of California, Berkeley. His most recent book is Visuality and Virtuality: Images and Pictures from Prehistory to Perspective (Princeton, 2017).
Whitney Davis; “Reading-In”: Franz Boas’s Theory of the Beholder’s Share. Representations 1 November 2018; 144 (1): 1–33. doi: https://doi.org/10.1525/rep.2018.144.1.1
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