Art/Archaeology: What Value Artistic- Archaeological Collaboration?
Issue: Vol 4 No. 2 (2017) Forum: Beyond Art/Archaeology
Journal: Journal of Contemporary Archaeology
Subject Areas: Archaeology
DOI: 10.1558/jca.34116
Abstract:
Recent work by artists and archaeologists has explored the potential for collaboration between the two disciplines. While much aesthetically pleasing and intellectually stimulating work has emerged, most output remains limited in its extramural impact. This short note argues for a more robust practice though an art/archaeology, a practice that goes beyond the limits of the archaeological study of prehistoric, ancient or historic art, but engages modern and contemporary political and social action. At the core of an art/archaeology are three successive processes: disarticulation, repurposing, and disruption. The article works through the example of an anthropomorphic figurine and a ceramic vessel, and it concludes with a call for a more-applied output.
Author: Doug Bailey
References :
References
Andreassen, E., Bjerck, H. and B. Olsen. 2010. Persistent Memories. Pyramiden: A Soviet Mining Town in the High Arctic. Trondheim: Tapir Akademisk Forlag.
Bailey, D. W. 2014. “Art//Archaeology//Art: Letting-Go Beyond.” In Art and Archaeology: Collaborations, Conversations, Criticisms, edited by I. Russell and A. Cochrane, 231–250. New York: Springer-Kluwer. https://doi.org/10.1007/978-1-4614-8990-0_15
____. 2017. “Disarticulate – Repurpose – Disrupt: Art/Archaeology.” Cambridge Archaeological Journal 27 (4): 671–701. https://doi.org/10.1017/S0959774317000713
____., A. Cochrane and J. Zambelli. 2010. Unearthed. Norwich, UK: Sainsbury Centre for the Visual Arts.
Birnbaum, D. 1999. “Stream of Consciousness: Mark Dion’s ‘Tate Thames Dig’.” Artforum 38: 116–121.
Blazwick, I. 2001. “Mark Dion’s ‘Tate Thames Dig’.” Oxford Art Journal 24 (2): 103–112. https://doi.org/10.1093/oxartj/24.2.103
Bonaventura, P. 2003. Segsbury Project: Simon Callery. London: English Heritage.
____. 2011. “Communicating in the Present Tense: An Interview with Simon Callery.” In Sculpture and Archaeology, edited by P. Bonaventura and A. Jones, 197–214. Burlington, VT: Ashgate.
Callery, S. 2004. “Segsbury Project: Art from Excavation.” In Substance, Memory, Display: Archaeology and Art, edited by C. Renfrew, C. Gosden and E. DeMarrais, 63–78. Cambridge: McDonald Institute for Archaeological Research.
Cameron, S. C. 2004. Art from Archaeology: Simon Callery’s Segsbury Project in Cross-Disciplinary Context. Unpublished Master’s Thesis, Department of Archaeology, Cambridge University.
Coles, A. and M. Dion (eds). 1999. Mark Dion Archaeology. London: Black Dog.
González-Ruibal, A. 2008. “Time to Destroy: An Archaeology of Supermodernity.” Current Anthropology 49 (2): 247–279. https://doi.org/10.1086/526099
Heath, C. 2011. “Unsighted Tactile Drawings of Prehistoric Archaeological Objects.” In Interventions: Ma˘gura Past and Present, edited by S. Mills, 185–202. Bucures¸ti: Editura Renaissance.
____. 2014. “Pictorial Essay A: Out of Sight.” In Sculpture and Touch, edited by P. Dent, 123–145. Farnham, UK: Ashgate.
Held, P. 2015. “Terra Nova: Virgil Ortiz, Time Traveller.” In Revolt 1680/2180: Virgil Ortiz, edited by J. P. Lukacic, 11–14. Denver, CO: Denver Art Museum.
Jasmin, M. 2011. “The Grid in Context.” In Interventions: Ma˘gura Past and Present, edited by S. Mills, 217–236. Bucures¸ti: Editura Renaissance.
____. 2014. “Artists Connecting Archaeologists: Encountering the Third Kind.” In Art and Archaeology: Collaborations, Conversations, Criticisms, edited by I. Russell and A. Cochrane, 157–178. New York: Springer-Kluwer. https://doi.org/10.1007/978-1-4614-8990-0_12
King, C. S. 2015. “Revolt 1680/2180 Virgil Ortiz.” In Revolt 1680/2180: Virgil Ortiz, edited by J. P. Lukacic, 15–28. Denver, CO: Denver Art Museum.
Metcalfe, J. 2013. “Reclaiming the Body: Strategies of Resistance in Virgil Ortiz’s Fashion Design.” Settler Colonial Studies 13 (2): 172–178. https://doi.org/10.1080/2201473X.2013.781929
Olivier, L. 2011 Dark Abyss of Time: Memory and Archaeology. Lanham, MD: Altamira.
Pearson, M. and M. Shanks. 2001. Theatre/Archaeology. London and New York: Routledge.
____. 2014. Pearson/Shanks – Theatre/Archaeology – Return and Prospect. In Art and Archaeology: Collaborations, Conversations, Criticisms, edited by I. Russell and A. Cochrane, 199–230. New York: Springer-Kluwer. https://doi.org/10.1007/978-1-4614-8990-0_14
Renfrew, C. 2003. Figuring It Out: What Are We? Where Do We Come From? The Parallel Visions of Artists and Archaeologists. London: Thames and Hudson.
____., C. Gosden and E. DeMarrais (eds). 2004. Substance, Memory, Display: Archaeology and Art. Cambridge: McDonald Institute for Archaeological Research
Shanks, M. 1992. Experiencing the Past: On the Character of Archaeology. London and New York: Routledge.
Thorne, S. 2011a. Ma˘gura: Romanian Village Soundscape. Cardiff: Simon Thorne Music.
____. 2011b. Some Spaces. Cardiff: Simon Thorne Music.
____. 2011c. “Sounds like Nothing.” In Interventions: Ma˘gura Past and Present, edited by S. Mills, 93–118. Bucures¸ti: Editura Renaissance.
Vilches, F. 2007. “The Art of Archaeology: Mark Dion and his Dig Projects.” Journal of Social Archaeology 7 (2): 199–223. https://doi.org/10.1177/1469605307077480