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By Ian Alden Russell, Andrew Cochrane

This quantity offers a set of interdisciplinary collaborations among modern paintings, historical past, anthropological, and archaeological practitioners. Departing from the lawsuits of the 6th international Archaeological Congress’s ‘Archaeologies of artwork’ topic and Ábhar agus Meon exhibitions, it comprises papers through seminal figures in addition to experimental paintings via people who are exploring the appliance of creative equipment and concept to the perform of archaeology. artwork and archaeology: collaborations, conversations, criticisms encourages the artistic interaction of assorted ways to ‘art’ and ‘archaeology’ so those new modes of expression can give a contribution to how we comprehend the area. confirmed issues resembling cave paintings, huge structure and land artwork should be mentioned along modern video paintings, functionality artwork and relational arts practices. the following, the parallel roles of artists as makers of recent worlds and archaeologists as makers of pasts worlds are introduced jointly to appreciate the impacts of human creativity.

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Although of course when these figurines were produced, there may not have been the skills to work the materials to create faces that would have been readily identified as specific individuals: rather they would have been generalised or abstracted. This means that we cannot be certain about their intent. Gormley on the other hand, has access and training in working many materials and could create veristic faces, so the conceptual importance of his decision not to rely on a critical engagement with the technical abilities of art making as tekhne, honed over many years and generations.

Chicago: Chicago University Press. Onians, J. (2007). Neuroarchaeology and the origins of representation in the Grotte de Chauvet. In C. Renfrew & I. ), Image and Imagination. A global prehistory of figurative representation (pp. 307–321). Cambridge: McDonald Institute Monographs. Pfeiffer, J. E. (1982). The Creative Explosion: an inquiry into the origins of art and religion. New York: Harper and Row. Pike, A. W. , Hoffmann, D. , Pettitt, P. , & Zilhao, J. (2012). U-series dating of Palaeolithic art in 11 caves in Spain.

7 cm. Muséum National d’Histoire Naturelle (Department de l’Homme), Paris most clearly in the figurine from Lespugue, France carved of mammoth ivory (Cook 2013, p. 97). The curves of the buttocks of the figurine blend with the bulges and protuberances left in the mammoth ivory during carving; matter and representation are blurred. This piece (Fig. 1) clearly owes some of its curved profile and shape to the mammoth tusk from which it is fashioned, but the bulges around the centre of the figure could have been removed in carving; in a sense the bulging and rounded qualities of the interior of the mammoth ivory are the subject of this carving as much as the rounded profile of the woman depicted.

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