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New York Times 'Best Art Books' 2020 'Essential' - Sunday Times
'Brilliantly enraged' - New York Review of Books 'A real
game-changer'- Economist Walk into any Western museum today and you
will see the curated spoils of Empire. They sit behind plate glass:
dignified, tastefully lit. Accompanying pieces of card offer a
name, date and place of origin. They do not mention that the
objects are all stolen. Few artefacts embody this history of
rapacious and extractive colonialism better than the Benin Bronzes
- a collection of thousands of metal plaques and sculptures
depicting the history of the Royal Court of the Obas of Benin City,
Nigeria. Pillaged during a British naval attack in 1897, the loot
was passed on to Queen Victoria, the British Museum and countless
private collections. The Brutish Museums sits at the heart of a
heated debate about cultural restitution, repatriation and the
decolonisation of museums. Since its first publication, museums
across the western world have begun to return their Bronzes to
Nigeria, heralding a new era in the way we understand the
collections of empire we once took for granted.
Does a photograph freeze a moment of time? What does it mean to
treat a photographic image as an artefact? In the visual culture of
the 21st century, do new digital and social forms change the status
of photography as archival or objective - or are they revealing
something more fundamental about photography's longstanding
relationships with time and knowledge?Archaeology and Photography
imagines a new kind of Visual Archaeology that tackles these
questions. The book reassesses the central place of Photography as
an archaeological method, and re-wires our cross-disciplinary
conceptions of time, objectivity and archives, from the History of
Art to the History of Science.Through twelve new wide-ranging and
challenging studies from an emerging generation of archaeological
thinkers, Archaeology and Photography introduces new approaches to
historical photographs in museums and to contemporaryphotographic
practice in the field. The book re-frames the relationship between
Photography and Archaeology, past and present, as more than a
metaphor or an analogy - but a shared vision.Archaeology and
Photography calls for a change in how we think about photography
and time. It argues that new archaeological accounts of duration
and presence can replace older conceptions of the photograph as a
snapshot orremnant received in the present. The book challenges us
to imagine Photography, like Archaeology, not as a representation
of the past and the reception of traces in the present but as an
ongoing transformation of objectivity and archive.Archaeology and
Photography will prove indispensable to students, researchers and
practitioners in History, Photography, Art, Archaeology,
Anthropology, Science and Technology Studies and Museum and
Heritage Studies.
A Cultural History of Objects in the Modern Age covers the period
1900 to today, a time marked by massive global changes in
production, transportation, and information-sharing in a
post-colonial world. New materials and inventions - from plastics
to the digital to biotechnology - have created unprecedented scales
of disruption, shifting and blurring the categories and meanings of
the object. If the 20th century demonstrated that humans can be
treated like things whilst things can become ever more human, where
will the 21st century take us? The 6 volume set of the Cultural
History of Objects examines how objects have been created, used,
interpreted and set loose in the world over the last 2500 years.
Over this time, the West has developed particular attitudes to the
material world, at the centre of which is the idea of the object.
The themes covered in each volume are objecthood; technology;
economic objects; everyday objects; art; architecture; bodily
objects; object worlds. Laurie A. Wilkie is Professor at the
University of California-Berkeley, USA. John M. Chenoweth, is
Associate Professor at the University of Michigan-Dearborn, USA.
Volume 6 in the Cultural History of Objects set. General Editors:
Dan Hicks and William Whyte
The common feature of landscape archaeology is its diversity - of
method, field location, disciplinary influences and contemporary
voices. The contributors to this volume take advantage of these
many strands to investigate landscape archaeology in its multiple
forms, focusing primarily on the link to heritage, the impact on
our understanding of temporality, and the situated theory that
arises out of landscape studies. Using examples from New York to
Northern Ireland, Africa to the Argolid, these pieces capture the
human significance of material objects in support of a more
comprehensive, nuanced archaeology.
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I Scare Myself - A Memoir (Paperback)
Dan Hicks; Foreword by Elvis Costello; Afterword by Tommy LiPuma; Edited by Kristine McKenna
1
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R480
R362
Discovery Miles 3 620
Save R118 (25%)
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Ships in 12 - 17 working days
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'Dan is a national treasure and one of America s great songwriters.
Elvis Costello. 'Dan s songs were funny, serious, and entertaining,
and the combo of old-timey folk, country, and jazz knocked me out.
Matt Groening, creator of The Simpsons. 'Dan Hicks is like
lightning in a bottle. Bette Midler. Dan Hicks didn t have his
heart set on a career in music. It all just sort of happened to
him. It didn t hurt, of course, that he was in the right place at
the right time San Francisco, 1966 and had a front-row seat for the
birth and death of the counterculture. Among other things, this is
a classic story of the 60s. More importantly, it s a story of
musical genius. By the time the Summer of Love limped to a close in
the fall of 67, Hicks had quit the Charlatans the pioneering
psych-rock band with whom he played the drums and turned to jazz,
the music he d secretly loved all along, as he began building his
own band, the Hot Licks. 'I just started taking ingredients I liked
and putting them together to see what came out, Hicks writes. What
came out was an amazing blend of complex time signatures, unusual
instrumentation, and intricate vocal harmonies that took him to the
top of the 70s rock world but also into a downward spiral of drink
and drug abuse. Emerging from a long wilderness, which he writes
about here with wit and candour, the man described by Tom Waits as
'fly, sly, wily, and dry eventually returned to recording and
performing, making a number of acclaimed albums, including Beatin
The Heat, a set of duets with Waits, Costello, Rickie Lee Jones,
and more. Along the way, his music continued to subtly permeate the
culture, turning up everywhere from The Sopranos to commercials for
Levi s and Bic. Hicks passed away in early 2016, but his music, and
the stories he tells here, remain as fresh and irresistible as
ever. I Scare Myself takes readers on a journey behind the music,
and into the life and mind of the fantastic artist who created it.
Does a photograph freeze a moment of time? What does it mean to
treat a photographic image as an artefact? In the visual culture of
the 21st century, do new digital and social forms change the status
of photography as archival or objective - or are they revealing
something more fundamental about photography's longstanding
relationships with time and knowledge?Archaeology and Photography
imagines a new kind of Visual Archaeology that tackles these
questions. The book reassesses the central place of Photography as
an archaeological method, and re-wires our cross-disciplinary
conceptions of time, objectivity and archives, from the History of
Art to the History of Science.Through twelve new wide-ranging and
challenging studies from an emerging generation of archaeological
thinkers, Archaeology and Photography introduces new approaches to
historical photographs in museums and to contemporaryphotographic
practice in the field. The book re-frames the relationship between
Photography and Archaeology, past and present, as more than a
metaphor or an analogy - but a shared vision.Archaeology and
Photography calls for a change in how we think about photography
and time. It argues that new archaeological accounts of duration
and presence can replace older conceptions of the photograph as a
snapshot orremnant received in the present. The book challenges us
to imagine Photography, like Archaeology, not as a representation
of the past and the reception of traces in the present but as an
ongoing transformation of objectivity and archive.Archaeology and
Photography will prove indispensable to students, researchers and
practitioners in History, Photography, Art, Archaeology,
Anthropology, Science and Technology Studies and Museum and
Heritage Studies.
Walk into any European museum today and you will see the curated
spoils of Empire. They sit behind plate glass: dignified,
tastefully lit. Accompanying pieces of card offer a name, date and
place of origin. They do not mention that the objects are all
stolen. Few artefacts embody this history of rapacious and
extractive colonialism better than the Benin Bronzes - a collection
of thousands of metal plaques and sculptures depicting the history
of the Royal Court of the Obas of Benin City, Nigeria. Pillaged
during a British naval attack in 1897, the loot was passed on to
Queen Victoria, the British Museum and countless private
collections. The story of the Benin Bronzes sits at the heart of a
heated debate about cultural restitution, repatriation and the
decolonisation of museums. In The Brutish Museums, Dan Hicks makes
a powerful case for the urgent return of such objects, as part of a
wider project of addressing the outstanding debt of colonialism.
A Cultural History of Objects in the Medieval Age covers the period
500 to 1400, examining the creation, use and understanding of
human-made objects and their consequences and impacts. The power
and agency of objects significantly evolved over this time.
Exploring objects and artefacts within art, technology, and
everyday life, the volume challenges our understanding of both life
worlds and object worlds in medieval society. The 6 volume set of
the Cultural History of Objects examines how objects have been
created, used, interpreted and set loose in the world over the last
2500 years. Over this time, the West has developed particular
attitudes to the material world, at the centre of which is the idea
of the object. The themes covered in each volume are objecthood;
technology; economic objects; everyday objects; art; architecture;
bodily objects; object worlds. Julie Lund is Associate Professor at
the University of Oslo, Norway. Sarah Semple is Professor at Durham
University, UK. Volume 2 in the Cultural History of Objects set.
General Editors: Dan Hicks and William Whyte
A Cultural History of Objects in the Age of Enlightenment covers
the period 1600 to 1760, a time marked by the movement of people,
ideas and goods. The objects explored in this volume -from
scientific instrumentation and Baroque paintings to slave ships and
shackles -encapsulate the contradictory impulses of the age. The
entwined forces of capitalism and colonialism created new patterns
of consumption, facilitated by innovations in maritime transport,
new forms of exchange relations, and the exploitation of
non-Western peoples and lands. The world of objects in the
Enlightenment reveal a Western material culture profoundly shaped
by global encounters. The 6 volume set of the Cultural History of
Objects examines how objects have been created, used, interpreted
and set loose in the world over the last 2500 years. Over this
time, the West has developed particular attitudes to the material
world, at the centre of which is the idea of the object. The themes
covered in each volume are objecthood; technology; economic
objects; everyday objects; art; architecture; bodily objects;
object worlds. Audrey Horning is Professor at William & Mary,
USA, and at Queen's University Belfast, UK. Volume 4 in the
Cultural History of Objects set. General Editors: Dan Hicks and
William Whyte
Available Open Access under CC-BY-NC licence. How can Archaeology
help us understand our contemporary world? This ground-breaking
book reflects on material, visual and digital culture from the
Calais "Jungle" - the informal camp where, before its destruction
in October 2016, more than 10,000 displaced people lived. LANDE:
The Calais 'Jungle' and Beyond reassesses how we understand
'crisis', activism, and the infrastructure of national borders in
Refugee and Forced Migration Studies, foregrounding the politics of
environments, time, and the ongoing legacies of empire. Introducing
a major collaborative exhibit at Oxford's Pitt Rivers Museum, the
book argues that an anthropological focus on duration, impermanence
and traces of the most recent past can recentre the ongoing human
experiences of displacement in Europe today.
World Archaeology at the Pitt Rivers Museum: a characterization
introduces the range, history and significance of the
archaeological collections of the Pitt Rivers Museum, Oxford. In 29
newly-commissioned essays written by a specialist team, the volume
explores more than 136,000 artefacts from 145 countries, from the
Stone Age to the modern period, and from England to Easter Island.
Pioneering a new approach in museum studies, this landmark volume
is an essential reference work for archaeologists around the world,
and a unique introduction to the archaeological collections of one
of the world’s most famous museums.
A Cultural History of Objects in the Age of Industry covers the
period 1760 to 1900, a time of dramatic change in the material
world as objects shifted from the handmade to the machine made. The
revolution in making, and in consuming the things which were made,
impacted on lives at every scale -from body to home to workplace to
city to nation. Beyond the explosion in technology, scientific
knowledge, manufacturing, trade, and museums, changes in class
structure, politics, ideology, and morality all acted to transform
the world of objects. The 6 volume set of the Cultural History of
Objects examines how objects have been created, used, interpreted
and set loose in the world over the last 2500 years. Over this
time, the West has developed particular attitudes to the material
world, at the centre of which is the idea of the object. The themes
covered in each volume are objecthood; technology; economic
objects; everyday objects; art; architecture; bodily objects;
object worlds. Carolyn White is Professor at the University of
Nevada, Reno, USA. Volume 5 in the Cultural History of Objects set.
General Editors: Dan Hicks and William Whyte
A Cultural History of Objects in the Renaissance covers the period
1400 to 1600. The Renaissance was a cultural movement, a time of
re-awakening when classical knowledge was rediscovered, leading to
an efflorescence in philosophy, art, and literature. The period
fostered an emerging sense of individualism across European
cultures. This sense was expressed through a fascination with
materiality and the natural world, and a growing attachment to
things. The 6 volume set of the Cultural History of Objects
examines how objects have been created, used, interpreted and set
loose in the world over the last 2500 years. Over this time, the
West has developed particular attitudes to the material world, at
the centre of which is the idea of the object. The themes covered
in each volume are objecthood; technology; economic objects;
everyday objects; art; architecture; bodily objects; object worlds.
James Symonds is Professor at the University of Amsterdam, The
Netherlands. Volume 3 in the Cultural History of Objects set.
General Editors: Dan Hicks and William Whyte
How have objects have been created, used, interpreted and set loose
in the world over the last 2500 years? Over this time, the West has
developed particular attitudes to the material world, at the centre
of which is the idea of the object. This set brings together over
50 scholars, in 1776 pages, to examine how the world of human
subjects shapes and is shaped by the world of material objects.
Chapter titles are identical across each of the volumes. This gives
the choice of reading about a specific period in one of the
volumes, or following a theme across history by reading the
relevant chapter in each of the six. The themes (and chapter
titles) are: Objecthood; Technology; Economic Objects; Everyday
Objects; Art; Architecture; Bodily Objects; Object Worlds. The six
volumes cover: 1 - Antiquity (500 BCE to 500 CE); 2 - Medieval Age
(500 to 1400); 3 - Renaissance (1400 to 1600); 4 - Age of
Enlightenment (1600 to 1760); 5 - Age of Industry (1760 to 1900); 6
- Modern Age (1900 to the present). The Cultural Histories Series A
Cultural History of Objects is part of The Cultural Histories
Series. Titles are available both as printed hardcover sets for
libraries needing just one subject or preferring a one-off purchase
and tangible reference for their shelves, or as part of a
fully-searchable digital library available to institutions by
annual subscription or perpetual access (see
www.bloomsburyculturalhistory.com).
The common feature of landscape archaeology is its diversity - of
method, field location, disciplinary influences and contemporary
voices. The contributors to this volume take advantage of these
many strands to investigate landscape archaeology in its multiple
forms, focusing primarily on the link to heritage, the impact on
our understanding of temporality, and the situated theory that
arises out of landscape studies. Using examples from New York to
Northern Ireland, Africa to the Argolid, these pieces capture the
human significance of material objects in support of a more
comprehensive, nuanced archaeology.
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Estate Landscapes (Hardcover)
Jonathan Finch, Kate Giles; Contributions by Barbara J. Heath, Charles E. Orser, Colin Breen, …
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R1,928
Discovery Miles 19 280
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Ships in 12 - 17 working days
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An exciting study of the social and landscape phenomena of the
Estate Landscape. In recent years, the post-medieval landscape has
attracted new interest from archaeologists, historians, and
geographers concerned to understand the development of the historic
environment. One of the key structuring elements within these
landscapes from the sixteenth century until the aftermath of the
Second World War was undoubtedly the landed estate. However, it was
not until the late nineteenth century that any systematic attempt
to quantify the presence of these estates was undertaken, prompted
by the move to democratic reform and the persistent link between
political power and landed wealth. Yet the importance of the landed
estate in structuring power, social relationships, and both
agricultural and industrial production was not limited to the UK.
From the eighteenth century, the link between the UK estates and
patterns of landholding and exploitation in the colonies became
increasingly complex and recursive. This volume explores the
relationships between the form and structure of British and
Colonial estate landscapes, their agricultural management and the
political structures and social relationships they reproduced. The
articles address themes as diverse as the creation and development
of the agrarian landscape, improvement, ornamental landscapes and
gardens and estate architecture. Overall, it highlights the wealth
and diversity of existing scholarship and suggests new directions
for post-medieval archaeology in this dynamic area of research.
This study uses the perspectives of what might be termed the
'empirical tradition' of British landscape archaeology that
developed in the 1960s and 1970s, especially in industrial
archaeology, to explore the early modern history of the 'garden'
landscapes formed by British colonialism in the eastern Caribbean,
and their place in the world. It presents a detailed chronological
sequence of the changing material conditions of these
English-/British-owned plantation landscapes during the 17th, 18th
and early 19th centuries, with particular reference to the origins,
history and legacies of the sugar industry. The study draws
together the results of archaeological fieldwork and documentary
research to present a progressive account of the historical
landscapes of the islands of St Kitts and St Lucia: sketching a
chronological outline of landscape change. This approach to
landscape is characterised by the integration of archaeological
field survey, standing buildings recording alongside documentary
and cartographic sources, and focuses upon producing accounts of
material change to landscapes and buildings. By providing a
long-term perspective on eastern Caribbean colonial history: from
the nature of early, effectively prehistoric contact and
interaction in the 16th century, through early permanent European
settlements and into the developed sugar societies of the 18th and
19th centuries, the study suggests a temporal and thematic
framework of landscape change that might inform the further
development of historical archaeology in the island Caribbean
region. The broader aim of the study relates to exploring how
archaeological techniques can be used to contribute a highly
detailed, empirical case study to the interdisciplinary study of
postcolonial landscapes and British colonialism. In order to
achieve this goal, the study draws upon the techniques of what has
been called the 'empirical tradition' of landscape archaeology.
A Cultural History of Objects in Antiquity covers the period 500
BCE to 500 CE, examining ancient objects from machines and
buildings to furniture and fashion. Many of our current attitudes
to the world of things are shaped by ideas forged in classical
antiquity. We now understand that we do not merely do things to
objects, they do things to us. Reinterpreting objects in Greece and
Rome casts new light on our understanding of ourselves and turns
the ancient world upside down. The 6 volume set of the Cultural
History of Objects examines how objects have been created, used,
interpreted and set loose in the world over the last 2500 years.
Over this time, the West has developed particular attitudes to the
material world, at the centre of which is the idea of the object.
The themes covered in each volume are objecthood; technology;
economic objects; everyday objects; art; architecture; bodily
objects; object worlds. Robin Osborne is Professor of Ancient
History at the University of Cambridge, UK. Volume 1 in the
Cultural History of Objects set. General Editors: Dan Hicks and
William Whyte
The Cambridge Companion to Historical Archaeology provides an
overview of the international field of historical archaeology (c.
AD 1500 to the present) through seventeen specially-commissioned
essays from leading researchers in the field. The volume explores
key themes in historical archaeology including documentary
archaeology, the writing of historical archaeology, colonialism,
capitalism, industrial archaeology, maritime archaeology, cultural
resource management and urban archaeology. Three special sections
explore the distinctive contributions of material culture studies,
landscape archaeology and the archaeology of buildings and the
household. Drawing on case studies from North America, Europe,
Australasia, Africa and around the world, the volume captures the
breadth and diversity of contemporary historical archaeology,
considers archaeology's relationship with history, cultural
anthropology and other periods of archaeological study, and
provides clear introductions to alternative conceptions of the
field. This book is essential reading for anyone studying or
researching the material remains of the recent past.
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Nadine Gordimer
Paperback
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Discovery Miles 3 300
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