LEADER 06092nam 22006735 450 001 9910483682403321 005 20200919031914.0 010 $a1-4614-8990-3 024 7 $a10.1007/978-1-4614-8990-0 035 $a(CKB)3710000000073714 035 $a(EBL)1592145 035 $a(SSID)ssj0001067184 035 $a(PQKBManifestationID)11616913 035 $a(PQKBTitleCode)TC0001067184 035 $a(PQKBWorkID)11080964 035 $a(PQKB)10265891 035 $a(MiAaPQ)EBC1592145 035 $a(DE-He213)978-1-4614-8990-0 035 $a(PPN)176100245 035 $a(EXLCZ)993710000000073714 100 $a20131118d2014 u| 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aArt and Archaeology$b[electronic resource] $eCollaborations, Conversations, Criticisms /$fedited by Ian Alden Russell, Andrew Cochrane 205 $a1st ed. 2014. 210 1$aNew York, NY :$cSpringer New York :$cImprint: Springer,$d2014. 215 $a1 online resource (250 p.) 225 1 $aOne World Archaeology,$x2625-8641 ;$v11 300 $aDescription based upon print version of record. 311 $a1-4614-8989-X 320 $aIncludes bibliographical references and index. 327 $aContents; Contributors; About the Editor; Chapter 1 Introduction; So How are Things?; Structure and Summary; References; Part I Exploration and Experimentation; Chapter 2 Colin Renfrew: A Conversation; Chapter 3 The Cave and the Mind: Towards a Sculptural and Experimental Approach to Upper Palaeolithic Art; Acts of Discovery; Experimenting with Form; Found Objects; The Instability of Matter; Miniaturisation and Scale; Mark Making, Repetition and Animation; Discussion; References; Chapter 4 Joining Forces: Neuroaesthetics, Contemporary Visual art and Archaeological Interpretation of the Past 327 $aIntroduction Neuroaesthetics; The Body as a Visual Art Object; Then; Now; Now and Then; Then Once More; Material Culture; Discussion; Summary; References; Chapter 5 Interface I: Day of the Figurines; References; Part II Curatorial Practice; Chapter 6 Art and Archaeology: The A?bhar agus Meon Exhibition Series; A?bhar agus Meon; The Project's Design; Recalibrating Heritage Spaces: Chronoscope, Newman House, 85--86 St Stephen's Green; Undercutting Lines Between Art and Heritage: The You That Is In It, Irish Museum of Modern Art 327 $aCritiquing Concepts and Conventions: Glass House Stone, Health Sciences Gallery, UCD After thoughts; References; Chapter 7 Art and Kilmainham Gaol: Negotiating Art's Critical Intervention in the Heritage Site; Introduction; Arts and Heritage Discourses: A Review; Escaping the Prison of the White Cube; Post-Cubist Heritage; Kilmainham Gaol: A Case Study of Arts Practice in the Heritage Site; Rules of Engagement: Arts Practice and Policy at Kilmainham Gaol; Conclusion; References; Chapter 8 Another Proof of the Preceding Theory: Film, Materialities and Stonehenge 327 $aArchaeology and the Materialities of FilmPil and Galia Kollectiv at the Stonehenge Riverside Project; Stonehenge 2008; The Art of Stonehenge; Another Proof of the Preceding Theory; Conclusion; References; Chapter 9 Home: An Installation for Living In; Introduction; Inhabiting an Installation Space; Friday, 22 February 2013; Saturday, 23 February 2013; Sunday, 24 January 2013; References; Part III Application and Exchange; Chapter 10 Dust and Debitage: An Archaeology of Francis Bacon's Studio; References; Chapter 11 Creating Contexts: Between the Archaeological Site and Art Gallery 327 $aIntroduction The Ness of Brodgar; Test Trenches Part 1: Ness of Brodgar, August 2010; Test Trenches Part 2: Pier Arts Centre, January 2011; Discussion; References; Chapter 12 Artists Connecting Archaeologists: Encountering the Third Kind; Introduction; Connecting Archaeology with Contemporary Art; Connecting Practices: Parallel Field Activities; Archaeologists Interested Into Contemporary Artistic Practices; Contemporary Artists Interested Into the Field of Archaeology; Relation to Past and Memory Through Material Culture and Ruins 327 $a`Mock Sciences' Approaches and Challenging Institutions and the Public Awareness 330 $aThis volume presents a collection of collaborations and conversations between archaeological, contemporary art, and heritage practitioners. Departing from the proceedings of the Sixth World Archaeological Congress?s ?Archaeologies of Art? theme and Ábhar agus Meon exhibitions, it includes papers by seminal figures as well as experimental work by those who are exploring the application of artistic methods and theories to the practice of archaeology. Art and Archaeology: Collaborations, Conversations, Criticisms encourages the creative interplay of various approaches to ?art? and ?archaeology? as contributions to how we interpret and understand the world. Established topics such as cave art, monumental architecture and land art will be discussed alongside treatments of modern and contemporary drawing, installation art, performance art, photography, sculpture, and video art. Here, the parallel roles of artists as makers of worlds and archaeologists as makers of pasts are brought together in an appreciation of human creativity. 410 0$aOne World Archaeology,$x2625-8641 ;$v11 606 $aAnthropology 606 $aArts 606 $aAnthropology$3https://scigraph.springernature.com/ontologies/product-market-codes/X12000 606 $aArts$3https://scigraph.springernature.com/ontologies/product-market-codes/416000 615 0$aAnthropology. 615 0$aArts. 615 14$aAnthropology. 615 24$aArts. 676 $a306.47 676 $a701/.03 686 $a20.07$2bcl 702 $aRussell$b Ian Alden$4edt$4http://id.loc.gov/vocabulary/relators/edt 702 $aCochrane$b Andrew$4edt$4http://id.loc.gov/vocabulary/relators/edt 906 $aBOOK 912 $a9910483682403321 996 $aArt and Archaeology$92841256 997 $aUNINA