This volume – which has come about through a collaborative venture between Dragos Gheorghiu (archaeologist and professional visual artist) and Theodor Barth (anthropologist) – aims at expanding the field of archaeological research with an anthropological understanding of practices that include artistic methods.

'Artistic Practices and Archaeological Research' aims to expand the field of archaeological research with an anthropological understanding of practices which include artistic methods. The project has come about through a collaborative venture between Dragos Gheorghiu (archaeologist and professional visual artist) and Theodor Barth (anthropologist). This anthology contains articles from professional archaeologists, artists and designers. The contributions cover a scale ranging from theoretical reflections on pre-existing archaeological finds/documentation, to reflective field-practices where acts of 'making' are used to interface with the site. These acts feature a manufacturing range from ceramics, painting, drawing, type-setting and augmented reality (AR). The scope of the anthology - as a book or edited whole - has accordingly been to determine a comparative approach resulting in an identifiable set of common concerns. Accordingly, the book proceeds from a comparative approach to research ontologies, extending the experimental ventures of the contributors, to the hatching of artistic propositions that demonstrably overlap with academic research traditions, of epistemic claims in the making. This comparative approach relies on the notion of transposition: that is an idea of the makeshift relocation of methodological issues - research ontologies at the brink of epistemic claims - and accumulates depth from one article to the next as the reader makes her way through the volume. However, instead of proposing a set method, the book offers a lighter touch in highlighting the role of operators between research and writing, rather entailing a duplication of practice, in moving from artistic ideas to epistemic claims. This, in the lingo of artistic research, is known as exposition. Emphasising the construct of the 'learning theatre' the volume provides a support structure for the contributions to book-project, in the tradition of viewing from natural history. The contributions are hands-on and concrete, while building an agenda for a broader contemporary archaeological discussion.

The authors of this book take a critical look at the practice and techniques of digital imaging from the stance of digital archaeologists, cultural heritage practitioners and digital artists.

This volume presents a collection of interdisciplinary collaborations between contemporary art, heritage, anthropological, and archaeological 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 theory to the practice of archaeology. Art and archaeology: collaborations, conversations, criticisms encourages the creative interplay of various approaches to ‘art’ and ‘archaeology’ so these new modes of expression can contribute to how we understand the world. Established topics such as cave art, monumental architecture and land art will be discussed alongside contemporary video art, performance art and relational arts practices. Here, the parallel roles of artists as makers of new worlds and archaeologists as makers of pasts worlds are brought together to understand the influences of human creativity.

Catalog for the exhibition held at the Museum of Contemporary Art Chicago from November 9, 2013-March 9, 2014.

The relationship between archaeology and conservation has long been complex and, at times, challenging. Archaeologists are often seen as interested principally in excavation and research, while conservators are concerned mainly with stabilization and the prevention of deterioration. Yet it is often initial conservation in the field that determines the long-term survival and intelligibility of both moveable artifacts and fixed architectural features. This user-friendly guide to conservation practices on archaeological excavations covers both structures and artifacts, starting from the moment when they are uncovered. Individual chapters discuss excavation and conservation, environmental and soil issues, deterioration, identification and condition assessment, detachment and removal, initial cleaning, coverings and shelters, packing, and documentation. There are also eight appendixes. Geared primarily for professionals engaged in the physical practice of excavation, this book will also interest archaeologists, archaeological conservators, site managers, conservation scientists, museum curators, and students of archaeology and conservation.

Based on a 2013 Theoretical Archaeology Group (TAG) conference session, this book aims to merge the perspectives of artists and archaeologists on making art. It explores the relationship between archaeology and art practice, the interactions between materials and practitioners, and the processes that result in the objects and images we call ‘art’.