Introduction Shaping the past: sculpture and archaeology Andrew Jones and Paul Bonaventura Background to the volume      Object– Excavation–Intervention                                           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                   Andrew Jones and Paul Bonaventura                      Envisioning archaeology                                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     envisioning                                                                   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                                     Andrew Jones and Paul Bonaventura                   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                                      Art history and archaeology                                               causality evidential                 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       The spectre of the Primitive                           Andrew Jones and Paul Bonaventura                                        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                                                                            ‘Primitivism’ in Twentieth Century Art: Anity of the Tribal and the Modern       Les demoiselles d’Avignon 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                                                Andrew Jones and Paul Bonaventura                                                        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         Art and Agency: An Anthropological Theory             Network of Stoppages                                             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                                      [...]... in art practice and theory To paraphrase Mitchell, in this sense sculptors and sculpture historians need to address the question ‘What do sculptures want?’33 Performing sculpture- archaeology In the preceding section we discussed the ways in which, through an analysis of site-specific art and materiality, sculpture and archaeology may have common theoretical and methodological goals and motivations... Ancient Rome, or the Ichnographia as Uchronia and Other Time Warps in Piranesi’s Il Campo Marzio’, in Sam Smiles and Stephanie Moser (eds), Envisioning the Past Archaeology and the Image (Oxford: Blackwell, 2005), pp 115–32 Errington, Shelly, The Death of Authentic Primitive Art and Other Tales of Progress (Berkeley, CA: University of California Press, 1998) Fabian, Johannes, Time and the Other: How Anthropology... mired in the logic of representationalism, viewing the material world as a substrate onto which cultural ideas are imposed, there is a growing interest in relocating the material with regard to the social, in particular by drawing on the ‘nonrepresentational’ theory of geographers and the ‘actor-network’ theory Andrew Jones and Paul Bonaventura 13 of science and technology studies (STS).30 Both of these... unwittingly, played on the cave-like spaces associated with the newly conceived war on terror, the Tora Bora caves His use of objects in these spaces openly critiqued the ‘ubiquitous culture of display that risks reducing subjects and objects to the fetishizing logic of the commodity’.26 12 sculpture and archaeology Robert Wallis discusses the installation of a sculpture by the British artist Anish... considering the productive intersection of sculpture and archaeology and to return to Rosalind Krauss’s influential essay Sculpture in the Expanded Field’ As noted above, Krauss employs a formalist logic to an analysis of the transformation of modern sculpture to a postmodern expanded field, by the application of models of contrasts and contraries derived from linguistic semiology Our argument here is that the. .. mimetically and citationally through performance is beautifully caught by Helen Rees Leahy’s essay in this volume Rees Leahy discusses the politics of display associated with the Parthenon marbles, and the role of sculpture in methods of display and the construction of national identity surrounding the 2004 Olympic Games in Athens She describes how the Makriyianni Museum, built to house the (absent) sculptures,... outlines some of these approaches to landscape in my analysis of stone architecture in the prehistoric landscape of Kilmartin, Argyll Here I note the dynamic set-up between standing stones monuments and the geology from which they are quarried Although it would be easy to present these monuments as silent sentinels, timeless and unchanging against the backdrop of landscape, I show too how these monuments,... sculpture and archaeology the mimetic character of the connections between certain art practices and notions of the primitive Drawing on the gender theorist Judith Butler,35 we can perhaps widen this view and consider such mimetic interactions as forms of performative citations or references to other methods or situations inherent to all sculptural and archaeological practices This perspective on the. .. presaging the development of the academic field of contemporary archaeology by some thirty years! Archaeological technique in the hands of the Boyle family becomes a metaphor and mimesis, an oblique strategy for sparking fresh ideas, rather than a slavish copy of archaeological techniques What appears to hold the two (art and archaeology) in common here is an interest in the material world; in the meaningful... between sculpture and archaeology In this spirit, this volume embraces a wide variety of ways in which the interrelationships between disciplines are performed Notes 1 For a more detailed discussion on the hybridity of the discipline, see Andrew Jones, ‘Into the Future’, in Barry Cunliffe, Chris Gosden and Rosemary A Joyce (eds), The Oxford Handbook of Archaeology (Oxford, 2009), pp 89–114 2 The case . Introduction Shaping the past: sculpture and archaeology Andrew Jones and Paul Bonaventura Background to the volume  . Marzio Envisioning the Past. Archaeology and the Image   The Death of Authentic Primitive Art and Other Tales