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Figuring It Out, new in paperback this autumn, is a compelling, richly illustrated analysis by a distinguished archaeologist of why the processes of archaeological investigation and discovery have been paralleled by the installations and art works of many artists, from the beginning of the 20th century to the present day. Central to the exploration is a group of leading contemporary artists, including Richard Long, Mark Dion, Barry Flanagan, Antony Gormley, Eduardo Paolozzi and David Mach, whose works are notable for an engagement with our world.
Sind wir verloren in den Dingen? Oder sind es letztlich die Dinge, die uns verloren gehen - in ihrem Übermaß, in ihrer Vielfalt, in ihrer alltäglichen Gegenwart, in ihrem unterschwelligen Uns-entgegen-Stehen, in ihrem Aus-unserem-Blick-Gleiten? Dieser Band verspricht keine klaren Antworten, aber doch die Möglichkeit, sich mit neuen Fragen an die Welt des Materiellen den Dingen auf eine neuartige Weise anzunähern. Er kann erklären, welches komplexe Mensch-Ding-Verhältnis wir unter »Lost in Things« begreifen. Seine Beiträge sind aus der internationalen Konferenz »Lost in Things - Questioning Functions and Meanings of the Material World« hervorgegangen, die im November 2013 an der Goethe-Universität in Frankfurt am Main stattgefunden hat und deren Anliegen die Integration aktueller und innovativer Ansätze aus der Archäologie und der Ethnologie/Anthropologie zur Analyse materieller Kultur und des Mensch-Ding-Verhältnisses war.
This volume presents a collection of interdisciplinary collaborations between contemporary art, heritage, anthropological, and archaeological practitioners. Departing from the proceedings of the Sixth World Archaeological Congress’s ‘Archaeologies of Art’ theme and Ábhar agus Meon exhibitions, it includes papers by seminal figures as well as experimental work by those who are exploring the application of artistic methods and theory to the practice of archaeology. Art and archaeology: collaborations, conversations, criticisms encourages the creative interplay of various approaches to ‘art’ and ‘archaeology’ so these new modes of expression can contribute to how we understand the world. Established topics such as cave art, monumental architecture and land art will be discussed alongside contemporary video art, performance art and relational arts practices. Here, the parallel roles of artists as makers of new worlds and archaeologists as makers of pasts worlds are brought together to understand the influences of human creativity.
A fascinating review of archaeological Great Britain, covering the deep archaeology of this long-settled island—from early hominid remains through the modern world—as well as Great Britain’s role in the larger archaeological realm.
This volume begins a discourse on the implications of performing archaeology in a world dominated by modern trends of mass production, mass replication and representation of cultural forms, and mass consumption of images of the past. The contributors explore the extent to which contemporary consumption of mass-produced replicas, simulations, images and experiences of the past cause a crisis of representation of the past. Eschewing romantic beliefs, it discusses what archaeology can do.
Over the past few centuries, northern Europe’s bogs have yielded mummified men, women, and children who were deposited there as sacrifices in the early Iron Age and kept startlingly intact by the chemical properties of peat. In this remarkable account of their modern afterlives, Karin Sanders argues that the discovery of bog bodies began an extraordinary—and ongoing—cultural journey. Throughout the nineteenth and twentieth centuries, Sanders shows, these eerily preserved remains came alive in art and science as material metaphors for such concepts as trauma, nostalgia, and identity. Sigmund Freud, Joseph Beuys, Seamus Heaney, and other major figures have used them to reconsider fundamental philosophical, literary, aesthetic, and scientific concerns. Exploring this intellectual spectrum, Sanders contends that the power of bog bodies to provoke such a wide range of responses is rooted in their unique status as both archeological artifacts and human beings. They emerge as corporeal time capsules that transcend archaeology to challenge our assumptions about what we can know about the past. By restoring them to the roster of cultural phenomena that force us to confront our ethical and aesthetic boundaries, Bodies in the Bog excavates anew the question of what it means to be human.
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