| i-Tune lecture on archaeology and art |
2009 © International Institute of Anthropology
2009 © Lolita Nikolova, PhD
Created: 3-10-09.
Updated: 3-08-10
.
2009 © Lolita Nikolova, PhD
Created: 3-10-09.
Updated: 3-08-10
.
 |  |  |  |  |
Professor Douglass W. Bailey
(San Francisco State University, SF, CA)
(external link to his home page)
Art to archaeology to archaeology to art
http://www.ucd.ie/scholarcast/audio/scholarcast09.mp3
Transcript: http://www.ucd.ie/scholarcast/transcripts/Art_to_Archaeology.pdf
New article online by Douglass W Bailey: Sample chapter from The Lost World of Old Europe (The Danube Valley, 5000-3500 BC),
edited by David W Anthony: The figurines of Old Europe
(San Francisco State University, SF, CA)
(external link to his home page)
Art to archaeology to archaeology to art
http://www.ucd.ie/scholarcast/audio/scholarcast09.mp3
Transcript: http://www.ucd.ie/scholarcast/transcripts/Art_to_Archaeology.pdf
New article online by Douglass W Bailey: Sample chapter from The Lost World of Old Europe (The Danube Valley, 5000-3500 BC),
edited by David W Anthony: The figurines of Old Europe
External links:
Course on Archaeology by Cornelius Holtorf:
http://www.iianthropology.org/archdistantcourses
The Portrayal of Archaeology in Contemporary Popular Culture by Cornelius
Holtorf
http://traumwerk.stanford.edu:3455/PopularArchaeology/Home
Anthropology videos (a link to videos listed at www.openanthropology.org)
Social technologies and social brains: 150 years of scientific Palaeolithic
research (the Gamble's lecture at Worldwide Universities Network, 04/27/09slide
37: What is social brain)
Videolectures.net (a link)
Youtube.com (a link)
An Interview with Paleoartist Tyler Keillor:
http://www.projectexploration.org/greensahara/TheTripleBurial_Tylerkeillor.aspx
Course on Archaeology by Cornelius Holtorf:
http://www.iianthropology.org/archdistantcourses
The Portrayal of Archaeology in Contemporary Popular Culture by Cornelius
Holtorf
http://traumwerk.stanford.edu:3455/PopularArchaeology/Home
Anthropology videos (a link to videos listed at www.openanthropology.org)
Social technologies and social brains: 150 years of scientific Palaeolithic
research (the Gamble's lecture at Worldwide Universities Network, 04/27/09slide
37: What is social brain)
Videolectures.net (a link)
Youtube.com (a link)
An Interview with Paleoartist Tyler Keillor:
http://www.projectexploration.org/greensahara/TheTripleBurial_Tylerkeillor.aspx
From the lecture:
If that is one category of the relationship between artists and
archaeologists, then what other types of relationships are there? It
has become very popular in the last 10 or 15 years for
archaeologists, especially in the United Kingdom, but also in the
United States and across Europe, to look to some of the most
famous contemporary artists as sources of interpretive information.
Often they look to the work of artists like Richard Long. Richard
Long, as many people know, is an artist who makes work in the
landscape, most famously by walking up and down in a line for a
period of time until the grass underneath his feet wears away and
then the piece of work is the line; this is the case with one of his
most famous works, A Line made by Walking (1967).3 I find Richard
Long’s work to be very exciting. It provokes me to think about time,
and time is a very archaeological concept. In addition, Long’s work
is about traces and actions, and these are similarly archaeological
topics of study and contemplation.
External link to the homepage of Richard Long: http://www.
richardlong.org/index.html
If that is one category of the relationship between artists and
archaeologists, then what other types of relationships are there? It
has become very popular in the last 10 or 15 years for
archaeologists, especially in the United Kingdom, but also in the
United States and across Europe, to look to some of the most
famous contemporary artists as sources of interpretive information.
Often they look to the work of artists like Richard Long. Richard
Long, as many people know, is an artist who makes work in the
landscape, most famously by walking up and down in a line for a
period of time until the grass underneath his feet wears away and
then the piece of work is the line; this is the case with one of his
most famous works, A Line made by Walking (1967).3 I find Richard
Long’s work to be very exciting. It provokes me to think about time,
and time is a very archaeological concept. In addition, Long’s work
is about traces and actions, and these are similarly archaeological
topics of study and contemplation.
External link to the homepage of Richard Long: http://www.
richardlong.org/index.html
Scholarcast 9: Art to Archaeology to Archaeology to Art [Wednesday [
issued December 03, 2008] 3:43 AM]
Professor Douglass W. Bailey discusses the various relationships between
art and archaeology, and argues that the most exciting current work is
pushing hard against the boundaries of both disciplines. His proposal is for
archaeologists and artists to take big risks in their work and to cut loose
the restraints of their traditional subject boundaries. The result will be work
that is neither art nor archaeology, but something else altogether and
something that can take the study of human nature into uncharted and
exciting new territories.
issued December 03, 2008] 3:43 AM]
Professor Douglass W. Bailey discusses the various relationships between
art and archaeology, and argues that the most exciting current work is
pushing hard against the boundaries of both disciplines. His proposal is for
archaeologists and artists to take big risks in their work and to cut loose
the restraints of their traditional subject boundaries. The result will be work
that is neither art nor archaeology, but something else altogether and
something that can take the study of human nature into uncharted and
exciting new territories.
Life, death, birth. One cycle - three artists. By Andrew
Christensen, Kelly Larsen and Daniel Walker, June 30 - August
1, 2009. 127 South Main Street, Salt Lake City, Utah. Gallery
hours: Tuesday through Friday, 11 AM - 8 PM, Saturday 12 PM -
6 PM.
On the 3rd of July The Utah Art Alliance promoted three artists in
its Gallery in Downtown, Salt Lake. One of them impressed me
with his color and the way in which he integrated the dirt into an
amazing piece of art. This is Kelly Larsen who lives in Provo,
Utah. He told me that he felt most excited touching the dirt and
applying it on the canvas. Being in front of the combination of
golden yellow, brown and black as a background of realistic
human figure one feels the life, death and birth really as one cycle
without beginning and end. (Lolita Nikolova, PhD)
The statement of Kelly Larsen (http://www.
kellylarsen.com/)
My paintings are composed of raw, organic substances. Stone,
soil and plant materials are often used for some of the pigment
by grinding and mixing with oil and binders. Industrial objects are
also placed onto the surface including metal, glass and paper.
The colors are typically dark and muted. Decomposed, putrefied
and oxidized materials, contained within Earth, inspire me.
Earth gives its power to each piece since the work’s physical
essence is derived from it. The Earth is something that cannot be
ignored, and demands respect. Utilizing Earth’s unpredictable
forces, I use the elements to decay, char, warp, and transform the
pieces, bringing them to a naturally decomposed state. This
perpetual process refers to the significance of death. It involves
random, chaotic, and impulsive forces that are tangible, imitating
the Earth’s natural processes.
Taking the substrate in this phase, I discern what is to be
preserved and accentuated in the final outcome. Like the layers of
Earth’s crust, I construct over what has been deconstructed,
giving birth to each piece. I then glaze transparent pigment over
the geography of textures that have been built up through time,
paying close attention to the natural interactions between the
substance and essence.
Spherical and contradictory ideas like wet and dry, smooth and
rough, soft and hard are always apparent in the work. Figurative
elements and landscapes are often integrated into the surfaces
of my paintings.
During the process of creation I ponder what the work may look
like as time takes it's toll on the physical body of the painting. At
times, I plan on parts of the painting cracking and falling from the
surface. Some of them I include images or certain color behind
known fragile paint. So as the painting leaves my presence I
intend for the work to change in time which creates mystery,
involvement, and demands attention. The owner can then decide
if they would like to restore it or just let it go in the direction that
the painting will inevitably end up: as dirt of the earth, as it once
was.
External links:
Homepage of Kelly Larsen
http://www.kellylarsen.com/
Kelly Larsen at Agallery, Salt Lake (1321 S 2100 E)
http://www.agalleryonline.com/html/artists/larsen/profile2.html
Christensen, Kelly Larsen and Daniel Walker, June 30 - August
1, 2009. 127 South Main Street, Salt Lake City, Utah. Gallery
hours: Tuesday through Friday, 11 AM - 8 PM, Saturday 12 PM -
6 PM.
On the 3rd of July The Utah Art Alliance promoted three artists in
its Gallery in Downtown, Salt Lake. One of them impressed me
with his color and the way in which he integrated the dirt into an
amazing piece of art. This is Kelly Larsen who lives in Provo,
Utah. He told me that he felt most excited touching the dirt and
applying it on the canvas. Being in front of the combination of
golden yellow, brown and black as a background of realistic
human figure one feels the life, death and birth really as one cycle
without beginning and end. (Lolita Nikolova, PhD)
The statement of Kelly Larsen (http://www.
kellylarsen.com/)
My paintings are composed of raw, organic substances. Stone,
soil and plant materials are often used for some of the pigment
by grinding and mixing with oil and binders. Industrial objects are
also placed onto the surface including metal, glass and paper.
The colors are typically dark and muted. Decomposed, putrefied
and oxidized materials, contained within Earth, inspire me.
Earth gives its power to each piece since the work’s physical
essence is derived from it. The Earth is something that cannot be
ignored, and demands respect. Utilizing Earth’s unpredictable
forces, I use the elements to decay, char, warp, and transform the
pieces, bringing them to a naturally decomposed state. This
perpetual process refers to the significance of death. It involves
random, chaotic, and impulsive forces that are tangible, imitating
the Earth’s natural processes.
Taking the substrate in this phase, I discern what is to be
preserved and accentuated in the final outcome. Like the layers of
Earth’s crust, I construct over what has been deconstructed,
giving birth to each piece. I then glaze transparent pigment over
the geography of textures that have been built up through time,
paying close attention to the natural interactions between the
substance and essence.
Spherical and contradictory ideas like wet and dry, smooth and
rough, soft and hard are always apparent in the work. Figurative
elements and landscapes are often integrated into the surfaces
of my paintings.
During the process of creation I ponder what the work may look
like as time takes it's toll on the physical body of the painting. At
times, I plan on parts of the painting cracking and falling from the
surface. Some of them I include images or certain color behind
known fragile paint. So as the painting leaves my presence I
intend for the work to change in time which creates mystery,
involvement, and demands attention. The owner can then decide
if they would like to restore it or just let it go in the direction that
the painting will inevitably end up: as dirt of the earth, as it once
was.
External links:
Homepage of Kelly Larsen
http://www.kellylarsen.com/
Kelly Larsen at Agallery, Salt Lake (1321 S 2100 E)
http://www.agalleryonline.com/html/artists/larsen/profile2.html