This volume provides an important new synthesis of archaeological work carried out in Australia on the post-contact period. It draws on dozens of case studies from a wide geographical and temporal span to explore the daily life of Australians in settings such as convict stations, goldfields, whalers' camps, farms, pastoral estates and urban neighbourhoods. The different conditions experienced by various groups of people are described in detail, including rich and poor, convicts and their superiors, Aboriginal people, women, children, and migrant groups. The social themes of gender, class, ethnicity, status and identity inform every chapter, demonstrating that these are vital parts of human experience, and cannot be separated from archaeologies of industry, urbanization and culture contact. The book engages with a wide range of contemporary discussions and debates within Australian history and the international discipline of historical archaeology. The colonization of Australia was part of the international expansion of European hegemony in the eighteenth and nineteenth century. The material discussed here is thus fundamentally part of the global processes of colonization and the creation of settler societies, the industrial revolution, the development of mass consumer culture, and the emergence of national identities. Drawing out these themes and integrating them with the analysis of archaeological materials highlights the vital relevance of archaeology in modern society.

Listen to the artists of the Brazilian Northeast. Their work, they say, comes of continuity and creativity. Continuity runs along lines of learning toward social coherence. Creativity brings challenges and deep personal satisfaction. What they say and do in Brazil aligns with ethnographic evidence from New Mexico and North Carolina; from Ireland, Portugal, and Italy; from Nigeria, Turkey, India, and Bangladesh; from China and Japan. This book is about that, about folk art as a sign of human unity.

DANIEL JOHNSTON, raised on a farm in Randolph County, returned from Thailand with a new way to make monumental pots. Back home in North Carolina, he built a log shop and a whale of a kiln for wood-firing. Then he set out to create beautiful pots, grand in scale, graceful in form, and burned bright in a blend of ash and salt. With mastery achieved and apprentices to teach, Daniel Johnston turned his brain to massive installations. First, he made a hundred large jars and lined them along the rough road that runs past his shop and kiln. Next, he arranged curving clusters of big pots inside pine frames, slatted like corn cribs, to separate them from the slick interiors of four fine galleries in succession. Then, in concluding the second phase of his professional career, Daniel Johnston built an open-air installation on the grounds around the North Carolina Museum of Art, where 178 handmade, wood-fired columns march across a slope in a straight line, 350 feet in length, that dips and lifts with the heave while the tops of the pots maintain a level horizon. In 2000, when he was still Mark Hewitt's apprentice, Daniel Johnston met Henry Glassie, who has done fieldwork on ceramic traditions in the United States, Brazil, Italy, Turkey, Bangladesh, China, and Japan. Over the years, during a steady stream of intimate interviews, Glassie gathered the understanding that enabled him to compose this portrait of Daniel Johnston, a young artist who makes great pots in the eastern Piedmont of North Carolina.