Identification and Analysis of Utilized Glass in Early Colonial Contexts: a Case Study from 17Th-Century Rhode Island
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The SAA Archaeological Record (ISSN 1532-7299) Is Published five Times a Year Andrew Duff and Is Edited by Andrew Duff
the archaeologicalrecord SAA SEPTEMBER 2007 • VOLUME 7 • NUMBER 4 SOCIETY FOR AMERICAN ARCHAEOLOGY the SAAarchaeologicalrecord The Magazine of the Society for American Archaeology Volume 7, No. 4 September 2007 Editor’s Corner 2 Andrew Duff Letters to the Editor 3 From the President 6 Dean R. Snow In Brief 7 Tobi A. Brimsek Archaeopolitics 8 Dan Sandweiss and David Lindsay Probing during cemetery Vancouver in 2008 9 Dana Lepofsky, Sue Rowley, delineation in Coweta Andrew Martindale, County, Georgia. and Alan McMillan Photo by Ron Hobgood. RPA: The Issue of Commercialism: Proposed Changes 10 Jeffrey H. Altschul to the Register’s Code of Conduct Archaeology’s High Society Blues: Reply to McGimsey 11 Lawrence E. Moore Amerind-SAA Seminars: A Progress Report 15 John A. Ware Email X and the Quito Airport Archaeology 20 Douglas C. Comer Controversy: A Cautionary Tale for Scholars in the Age of Rapid Information Flow Identifying the Geographic Locations 24 German Loffler in Need of More CRM Training Can the Dissertation Be All Things to All People? 29 John D. Rissetto Networks: Historic Preservation Learning Portal: 33 Richard C. Waldbauer, Constance Werner Ramirez, A Performance Support Project for and Dan Buan Cultural Resource Managers Interfaces: 12V 35 Harold L. Dibble, Shannon J.P. McPherron, and Thomas McPherron Heritage Planning 42 Yun Shun Susie Chung In Memoriam: Jaime Litvak King 47 Emily McClung de Tapia and Paul Schmidt Calls for Awards Nominations 48 positions open 52 news and notes 54 calendar 56 EDITOR’S CORNER the SAAarchaeologicalrecord The Magazine of the Society for American Archaeology Volume 7, No. -
With Dada and Pop Art Influence
With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK. -
Courage and Thoughtful Scholarship = Indigenous Archaeology Partnerships
FORUM COURAGE AND THOUGHTFUL SCHOLARSHIP = INDIGENOUS ARCHAEOLOGY PARTNERSHIPS Dale R. eroes Robert McGhee's recent lead-in American Antiquity article entitled Aboriginalism and Problems of Indigenous archaeology seems to emphasize the pitfalls that can occur in "indige nolls archaeology." Though the effort is l1ever easy, I would empha size an approach based on a 50/50 partnership between the archaeological scientist and the native people whose past we are attempting to study through our field alld research techniques. In northwestern North America, we have found this approach important in sharillg ownership of the scientist/tribal effort, and, equally important, in adding highly significant (scientif ically) cullUral knowledge ofTribal members through their ongoing cultural transmission-a concept basic to our explana tion in the field of archaeology and anthropology. Our work with ancient basketry and other wood and fiber artifacts from waterlogged Northwest Coast sites demonstrates millennia ofcultl/ral cOlltinuity, often including reg ionally distinctive, highly guarded cultural styles or techniques that tribal members continue to use. A 50/50 partnership means, and allows, joint ownership that can only expand the scientific description and the cultural explanation through an Indigenous archaeology approach. El artIculo reciente de Robert McGhee en la revista American Antiquity, titulado: Aborigenismo y los problemas de la Arque ologia Indigenista, pC/recen enfatizar las dificultades que pueden ocurrir en la "arqueologfa indigenista -
Sculpture I – Assemblage
Name Sculpture I – Assemblage Artist: Joseph Cornell was a collector and carefully juxtaposing found objects in small, glass-front boxes, Cornell created visual poems in which surface, form, texture, and light play together. Using things we can see, Cornell made boxes about things we cannot see: ideas, memories, fantasies, and dreams. http://www.josephcornellbox.com/gallery_menu01.htm Learning Targets: Sculpture I understand how color can change a sculpture. I know there are many types of sculptures. I know that there is a wide variety of materials used in sculpture. I know how to implement the elements and principles of design into my Sculpture I know how create an sculpture with assemblage of recyclables I can create 3•D sculpture from cardboard, using paper construction methods such as scoring, mitering edges. I know how to work with paper construction techniques and Mache; learn about grain, bending, cutting, scoring, and quality of different types of paper. I know and understand the work of artist Joseph Cornell . Standards A: Skills and Techniques: The student understands and applies media, techniques and processes B: Creation and Communication: the student creates and communicates a range of subject matter, symbols and ideas using knowledge of structures and functions of visual arts. C: Cultural and Historical Connections: The student understands the visual arts in relation to history and culture. D: Aesthetic and Critical Analysis: The student assesses, evaluates and responds to the characteristics of works of art. E: Applications to Life: the student makes connections between the visual arts, other disciplines and the real world. Assessment: Design Considerations: o Outside Design, Color, Pattern, etc. -
THE HISTORICAL ARCHAEOLOGY of NATIVE AMERICANS Patricia E
P1: FBH August 28, 2000 9:45 Annual Reviews AR111-16 Annu. Rev. Anthropol. 2000. 29:425–46 Copyright c 2000 by Annual Reviews. All rights reserved THE HISTORICAL ARCHAEOLOGY OF NATIVE AMERICANS Patricia E. Rubertone Department of Anthropology, Brown University, Providence, Rhode Island 02912; e-mail: Patricia [email protected] Key Words acculturation, direct-historical approaches, landscapes, multicultural communities, colonialism ■ Abstract Historical archaeologists have given relatively scant attention to the study of Native Americans. Despite the potential to contribute to new understandings about Native peoples during and after European contact, the research commitment has been ambivalent at best. In this review, I ground this relationship in early debates about the field’s subject matter and concurrent discussions in anthropology about direct- historical and acculturation models. In addition, I highlight currents in research that have refined these approaches as well as those that have charted new directions. The latter are notable for helping comprehend the role of place and tradition in Native peoples’ lives, but also for reminding us of the complexities of identity construction in America after European contact. I reason that historical archaeology’s use of multiple sources, if linked creatively, can be crucial in producing knowledge about the past that illuminates the rich diversity of experiences among Native Americans. “Did these occurrences have a paradigm ... that went back in time? Or are we working out the minor details of a strictly random pattern?” Erdrich (1998:240) “...all of us remembering what we have heard together—that creates the whole story the long story of the people.” Silko (1981:7) INTRODUCTION Today, definitions of what constitutes historical archaeology are more broadly conceived than ever before. -
Society for Historical Archaeology
Historical Archaeology Volume 46, Number 42 2012 Journal of The Society for Historical Archaeology J. W. JOSEPH, Editor New South Associates, Inc. 6150 East Ponce de Leon Avenue Stone Mountain, Georgia 30083 InN assocASSOCIATIONIatIon wWITHIth aRudreyEBECCA h ornALLENIng,, JcAMIEhrIs BMRANDONatthews, ,C MHRISargaret MATTHEWS Purser, , andPAUL g MraceULLINS ZIes, DIngELLA, a ssocSCOTTIate-I RETONedItors, B; RENT WEISMAN, GRACE ZEISING, rASSOCIATEIchard V eEItDITORS, reVIews; CHARLES edItor ;E MWENary, RBEVIEWSeth reed EDITOR, co;- eMdARYItor BETH REED, CO-EDITOR Published by THE SOCIETY FOR HISTORICAL ARCHAEOLOGY Front Matter - 46(2) for print.indd i 9/7/12 9:28 AM HISTORICAL ARCHAEOLOGY IS INDEXED IN THE FOLLOWING PUBLICATIONS: ABSTRACTS OF ANTHROPOLOGY; AMERICA: HISTORY AND LIFE; ANTHROPOLOGICAL LITERATURE; ART AND ARCHAEOLOGY TECHNICAL ABSTRACTS; ARTS AND HUMANITIES INDEX; BRITISH ARCHAEOLOGICAL ABSTRACTS; CURRENT CONTENTS/ ARTS AND HUMANITIES; HISTORICAL ABSTRACTS; HUMANITIES INDEX; AND INTERNATIONAL BIBLIOGRAPHY OF THE SOCIAL SCIENCES. Copyediting by Richard G. Schaefer Composition by OneTouchPoint/Ginny’s Printing Austin, Texas ©2012 by The Society for Historical Archaeology Printed in the United States of America ISSN 0440-9213 The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences–Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. Contents Volume 46, No. 4, 2012 MEMORIAL RODERICK SPRAGUE 1933–2012 1 ARTICLES “Their Houses are Ancient and Ordinary”: Archaeology and Connecticut’s Eighteenth-Century Domestic Architecture ROSS K. HARPER 8 Evaluating Spanish Colonial Alternative Economies in the Archaeological Record AMANDA D. ROBERTS THOMPSON 48 Pueblo Potsherds to Silver Spoons: A Case Study in Historical Archaeology from New Mexico MELISSA PAYNE 70 Hard Labor and Hostile Encounters: What Human Remains Reveal about Institutional Violence and Chinese Immigrants Living in Carlin, Nevada (1885–1923) RYAN P. -
The Quilt As Concept
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2009 The quilt as concept. Denise Mucci Furnish University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Furnish, Denise Mucci, "The quilt as concept." (2009). Electronic Theses and Dissertations. Paper 472. https://doi.org/10.18297/etd/472 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Fine Arts University of Louisville Louisville, Kentucky May 2009 Copyright 2009 by Denise Mucci Furnish All rights reserved TIlE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Approved on March 9, 2009 By the following Thesis Committee: Thesis Director ii DEDICATION This thesis is dedicated to Guy M. Furnish whose dedication to education has made this possible. iii ACKNOWLEDGEMENTS I would like to thank my major professor, Lida Gordon, for years of inspiration, guidance, and patience. -
Assemblage Art Combine Various Materials Together to Explore the Concept of Assemblage Art
Assemblage Art Combine Various Materials together to explore the concept of assemblage art. Big Idea Recycled materials can be used to create art. Standards 4.A Listens effectively in formal and 26.A Understand processes, traditional informal situations. tools and modern technologies used in the arts. 9.A Demonstrate and apply geometric 31.A Develop a positive self-concept. concepts involving points, lines, planes and space. 25A Understands the sensory elements, organizational principle and expressive qualities of the arts. Materials • Used cardboard boxes (lids are good too) • Metal scraps (make sure • Scissors these are not sharp) • Glue/tape • Popsicle sticks • Markers (for names and to • Other recycled materials, like decorate) buttons, lids, fabric, etc. • Scraps of sanded wood • Photographs of Louise (check with local lumber Nevelson work (search on yards, hardware stores or internet) parents) Inspirational Artwork & Resources Big Black by Louise Nevelson An American Tribe to the British People by Louise Nevelson The Art of Assemblage historical document by William Seitz Vocabulary Assemblage: a group of things gathered or collected; an assembly; collection Collage: a technique of composing a work of art by pasting on a single surface various materials Negative space: empty space, space around an object or form; also called white space Recycle: to extract useful materials from garbage or waste Recyclable: fit for or capable of being recycled Setup Find a clean space to work, either a table or floor area and cover it with newspaper. One may want access to a sink to wash hands. Directions 1. Describe assemblage to children and other vocabulary definitions. -
Cultural Ramifications of the Found Object in Contemporary African Art
International Journal of Multiculturalism Volume 2, Number 1, 2021. 50-74 DOI: 10.30546/2708-3136.2021.2.1.50 CULTURAL RAMIFICATIONS OF THE FOUND OBJECT IN CONTEMPORARY AFRICAN ART Clement E. AKPANG FRSA : https://orcid.org/ 0000-0002-5510-4304 Cross River University of Technology, Calabar, Nigeria © The Author(s) 2021 ABSTRACT ARTICLE INFO Arguably Found Object genre represents the most dominant form of ARTICLE HISTORY contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation. However, Found Object discourse Received: institutionalized in European art history is exclusively western and dismisses 17 November , 2020 Accepted: those of other cultures as mimesis and time-lag. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors 8 February, 2021 Published: have been absorbed into, problematically blurs the conceptual and ideological 25 April, 2021 differences in European and African exploration of discarded objects in art Available online: creation. Using a triangulation of Formalism, Iconography and Interviews as 25 April, 2021 methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in KEYWORDS form and content. The paper therefore concludes that found object art is culture- specific and defined by unique cultural ramifications, thus, to fully understand Found Object, Art, the dynamism of this art genre, a culture-specific or localized reading is required Culture, Ramifications, because the context of its emergence in Europe stands in contradiction to its Africa, Europe conceptualism in contemporary African art-space. -
Historical Archaeology : 070-313
HISTORICAL ARCHAEOLOGY : 070-313 FALL 2020 : PROVISIONAL COURSE SCHEDULE (Please note that additional clips, movies, etc will be added to this schedule as needed) Instructor: Professor Carmel Schrire Class Location: Biosciences Bldg., DC, Room 206 Class Hours: T, Th. 3.55-5.15 pm Office: RAB 201, DC Email: [email protected] Office Hours: By apt, on Zoom, FaceTime, or email WEEK 1 (Sept 3) Introduction to Historical Archaeology The field is defined and described and the processes of site discovery, excavation and analysis are discussed. Readings: Deetz, 1996, Chapters 1, 2; Noel Hume 1983, Chapters 1-3 Clip: Ivor Noel Hume: https://www.youtube.com/watch?v=6i3k2BKz-WA WEEK 2 (Sept 8,10) Elements of Historical Archaeology The building blocks of the field – sites, artefacts and written records - are explored. Artifacts are described and collections are handled in order to understand how their contexts and characteristics help date and interpret a variety of sites. Historical documents, including travel accounts and iconography and ships’ records, as well as probates and inventories, are studied to show how class and status is constructed from written documents Readings: Deetz, 1996, chapters 1-5; Hicks & Beaudry 2006; Noel Hume 1983, Chapters 4,5; Schrire et al 1990 Movie: Other Peoples Garbage (Short version via Odyssey) https://www.youtube.com/watch?v=S_zmCD4Eojg Clip: Ceramics: http://historicjamestowne.org/collections/ceramics-research- group/ WEEK 3 (Sept 15,17) Archaeology of Exploration : Ships, Shipwrecks, Trade The history of the expansion of European power and trade into Asia, Africa and America and the impact of European colonization on indigenous people. -
Historical Archaeology and the Importance of Material Things
HISTORICAL ARCHAEOLOGY AND THE IMPORTANCE OF MATERIAL THINGS LELAND FERGUSON, Editor r .\ SPECIAL PUBLICATION SERIES, NUMBER 2 Society for Historical Archaeology Special Publication Series, Number 2 published by The Society for Historical Archaeology The painting on the cover of this volume was adapted from the cover of the 1897 Sears Roebuck Catalogue, publishedby Chelsea House Publishers, New York, New York, 1968. The Society for Historical Archaeology OFFICERS RODERICK SPRAGUE, University ofIdaho President JAMES E. AYRES, Arizona State Museum President-elect JERVIS D. SWANNACK, Canadian National Historic Parks & Sites Branch Past president MICHAEL J. RODEFFER, Ninety Six Historic Site Secretary-treasurer JOHN D. COMBES, Parks Canada ,,,, , , Editor LESTER A. Ross, Canadian National Historic Parks & Sites Branch Newsletter Editor DIRECTORS 1977 KATHLEEN GILMORE, North Texas State University LEE H. HANSON, Fort Stanwix National Monument 1978 KARLIS KARKINS, Canadian National Parks & Sites Branch GEORGE QUIMBY, University ofWashington 1979 JAMES E.. FITTING, Commonwealth Associates,Inc. DEE ANN STORY, Balcones Research Center EDITORIAL STAFF JOHN D. COMBES ,, Editor Parks Canada, Prairie Region, 114 Garry Street, Winnipeg, Manitoba R3C IGI SUSAN JACKSON Associate Editor Institute of Archeology and Anthropology, University of South Carolina, Columbia, South Carolina 29208 JOHN L. COITER Recent Publications Editor National Park Service, 143South Third Street, Philadelphia, Pennsylvania 19106 WILLIAM D. HERSHEY , , Recent Publications Editor Temple University, Broad and Ontario, Philadelphia, Pennsylvania 19122 KATHLEEN GILMORE. ....................................................... .. Book Review Editor Institute for Environmental Studies, North Texas State University, Denton, Texas 76201 LESTER A. Ross Newsletter Editor National Historic Parks & Sites Branch, 1600Liverpool Court, Ottawa, Ontario, KIA OH4 R. DARBY ERD Art Institute of Archeology and Anthropology, University of South Carolina. -
Assemblage Art Made from “Throwaways”
Assemblage Art made from “throwaways” Art has been created from cast-off materials since art has been in existence. Certain artists are drawn to making something out of what would generally be considered nothing — taking what most people would view as useless and arranging it in an artistic manner, or placing it with traditional materials or in a particular setting that elevates it from junk to art. Art created in this manner is often referred to as “assemblage” and endless varieties of it exist. It can be very sculptural, as seen in the recycled automobile parts assembled Materials by John Angus Chamberlain. It can Blick® Economy Canvas Panels, resemble a stage set, as demonstrated in 8" x 10", classroom package of 24 (07015-1012) Ed Kienholz’s large-scale installations. Or it Wood pieces, use scrap or any of the can be confined to a plane or box, such as following: the assemblages of Joseph Cornell. Treasure Chest of Wood, 10-lb In this particular lesson plan, students will assortment (60919-0000) look closely at the work of Louise Nevelson, Creativity Street® Wood Shapes, known for her abstract sculptures made 1000 piece assortment (60453-1000) from cast-off pieces of wood — actual street “throwaways” — uniformly coated Craftsticks, box of 1000 (60401-1001) with black or white spray paint. Students Economy Wood Project Bag, will create their own assemblages from 72 cu inch (60416-8480) wood pieces and other cast-off objects on a panel. Cast-off objects, such as buttons, machine parts, wire, toy parts, recycled plastic pieces, old jewelry, foamboard or heavy cardboard Nevelson is credited with saying “I think all scraps, small boxes, lids and so on.