Dan Hicks - Böcker

New York Times 'Best Art Books' 2020'Essential' – Sunday Times'Brilliantly enraged' - New York Review of Books'A real game-changer'– EconomistWalk into any Western museum today and you will see the curated spoils of Empire. They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objects are all stolen.Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of metal plaques and sculptures depicting the history of the Royal Court of the Obas of Benin City, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections.The Brutish Museums sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. Since its first publication, museums across the western world have begun to return their Bronzes to Nigeria, heralding a new era in the way we understand the collections of empire we once took for granted.

The Oxford Handbook of Material Culture Studies introduces and reviews current thinking in the interdisciplinary field of material culture studies. Drawing together approaches from archaeology, anthropology, geography, and Science and Technology Studies, through twenty-eight specially commissioned essays by leading international researchers, the volume explores contemporary issues and debates in a series of themed sections - Disciplinary Perspectives, Material Practices, Objects and Humans, Landscapes and the Built Environment, and Studying Particular Things. From Coca-Cola, chimpanzees, artworks, and ceramics, to museums, cities, human bodies, and magical objects, the Handbook is an essential resource for anyone with an interest in materiality and the place of material things in human life, both past and present. A comprehensive bibliography enhances its usefulness both as a research tool and as a classroom text.

The Oxford Handbook of Material Culture Studies introduces and reviews current thinking in the interdisciplinary field of material culture studies. Drawing together approaches from archaeology, anthropology, geography, and Science and Technology Studies, through twenty-eight specially commissioned essays by leading international researchers, the volume explores contemporary issues and debates in a series of themed sections - Disciplinary Perspectives, Material Practices, Objects and Humans, Landscapes and the Built Environment, and Studying Particular Things. From Coca-Cola, chimpanzees, artworks, and ceramics, to museums, cities, human bodies, and magical objects, the Handbook is an essential resource for anyone with an interest in materiality and the place of material objects in human social life, both past and present. A comprehensive bibliography enhances its usefulness as a research tool.

Catalogues the recent critically acclaimed exhibition of Isaac Julien’s work at the de Young Museum, San Francisco. Sir Isaac Julien (b 1960), one of the UK’s leading artists working in film and video, is celebrated for his poetic yet astutely political films and video installations that reflect on the intersection of power, politics and personal experience through the lens of identity, race and sexuality. Distinguished by their fusion of fact and fiction, social critique and aesthetic immersion, his video installations offer poetic meditations on catalytic political and cultural events that have shaped the lives of individuals and societies around the world. His work breaks down the barriers between different artistic disciplines, melding references to cinema, art, poetry, performance and music into spellbinding political allegories that challenge our understanding of histories, both past and present. Isaac Julien: I Dream a World accompanies the first comprehensive retrospective of this renowned artist and filmmaker in the United States. Centering ten of the artist’s key works shot across the Americas, Africa, Asia, the Caribbean and Europe, this volume situates his work within a global context. Provocative essays by a roster of contemporary writers and lavish galleries that feature multiple views of Julien’s work further mark this as an indispensable book on the artist and the subject of art history today.

The Cambridge Companion to Historical Archaeology provides an overview of the international field of historical archaeology (c.AD 1500 to the present) through seventeen specially-commissioned essays from leading researchers in the field. The volume explores key themes in historical archaeology including documentary archaeology, the writing of historical archaeology, colonialism, capitalism, industrial archaeology, maritime archaeology, cultural resource management and urban archaeology. Three special sections explore the distinctive contributions of material culture studies, landscape archaeology and the archaeology of buildings and the household. Drawing on case studies from North America, Europe, Australasia, Africa and around the world, the volume captures the breadth and diversity of contemporary historical archaeology, considers archaeology's relationship with history, cultural anthropology and other periods of archaeological study, and provides clear introductions to alternative conceptions of the field. This book is essential reading for anyone studying or researching the material remains of the recent past.

Walk into any European museum today and you will see the curated spoils of Empire. They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objects are all stolen.Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of metal plaques and sculptures depicting the history of the Royal Court of the Obas of Benin City, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections. The story of the Benin Bronzes sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. In The Brutish Museums, Dan Hicks makes a powerful case for the urgent return of such objects, as part of a wider project of addressing the outstanding debt of colonialism.

Does a photograph freeze a moment of time? What does it mean to treat a photographic image as an artefact? In the visual culture of the 21st century, do new digital and social forms change the status of photography as archival or objective – or are they revealing something more fundamental about photography’s longstanding relationships with time and knowledge?Archaeology and Photography imagines a new kind of Visual Archaeology that tackles these questions. The book reassesses the central place of Photography as an archaeological method, and re-wires our cross-disciplinary conceptions of time, objectivity and archives, from the History of Art to the History of Science.Through twelve new wide-ranging and challenging studies from an emerging generation of archaeological thinkers, Archaeology and Photography introduces new approaches to historical photographs in museums and to contemporaryphotographic practice in the field. The book re-frames the relationship between Photography and Archaeology, past and present, as more than a metaphor or an analogy – but a shared vision.Archaeology and Photography calls for a change in how we think about photography and time. It argues that new archaeological accounts of duration and presence can replace older conceptions of the photograph as a snapshot orremnant received in the present. The book challenges us to imagine Photography, like Archaeology, not as a representation of the past and the reception of traces in the present but as an ongoing transformation of objectivity and archive.Archaeology and Photography will prove indispensable to students, researchers and practitioners in History, Photography, Art, Archaeology, Anthropology, Science and Technology Studies and Museum and Heritage Studies.

Does a photograph freeze a moment of time? What does it mean to treat a photographic image as an artefact? In the visual culture of the 21st century, do new digital and social forms change the status of photography as archival or objective – or are they revealing something more fundamental about photography’s longstanding relationships with time and knowledge?Archaeology and Photography imagines a new kind of Visual Archaeology that tackles these questions. The book reassesses the central place of Photography as an archaeological method, and re-wires our cross-disciplinary conceptions of time, objectivity and archives, from the History of Art to the History of Science.Through twelve new wide-ranging and challenging studies from an emerging generation of archaeological thinkers, Archaeology and Photography introduces new approaches to historical photographs in museums and to contemporaryphotographic practice in the field. The book re-frames the relationship between Photography and Archaeology, past and present, as more than a metaphor or an analogy – but a shared vision.Archaeology and Photography calls for a change in how we think about photography and time. It argues that new archaeological accounts of duration and presence can replace older conceptions of the photograph as a snapshot orremnant received in the present. The book challenges us to imagine Photography, like Archaeology, not as a representation of the past and the reception of traces in the present but as an ongoing transformation of objectivity and archive.Archaeology and Photography will prove indispensable to students, researchers and practitioners in History, Photography, Art, Archaeology, Anthropology, Science and Technology Studies and Museum and Heritage Studies.

How have objects have been created, used, interpreted and set loose in the world over the last 2500 years? Over this time, the West has developed particular attitudes to the material world, at the centre of which is the idea of the object. This set brings together over 50 scholars, in 1776 pages, to examine how the world of human subjects shapes and is shaped by the world of material objects.Chapter titles are identical across each of the volumes. This gives the choice of reading about a specific period in one of the volumes, or following a theme across history by reading the relevant chapter in each of the six.The themes (and chapter titles) are: Objecthood; Technology; Economic Objects; Everyday Objects; Art; Architecture; Bodily Objects; Object Worlds.The six volumes cover: 1 – Antiquity (500 BCE to 500 CE); 2 – Medieval Age (500 to 1400); 3 – Renaissance (1400 to 1600); 4 – Age of Enlightenment (1600 to 1760); 5 – Age of Industry (1760 to 1900); 6 – Modern Age (1900 to the present).The Cultural Histories SeriesA Cultural History of Objects is part of The Cultural Histories Series. Titles are available both as printed hardcover sets for libraries needing just one subject or preferring a one-off purchase and tangible reference for their shelves, or as part of a fully-searchable digital library available to institutions by annual subscription or perpetual access (see www.bloomsburyculturalhistory.com).

‘An extraordinary intervention. If you want to understand the stakes and the limitations of contemporary conflict over culture and colonial history this bold, provocative book is an indispensable resource’ Paul Gilroy, founding Director of the Sarah Parker Remond Centre for the Study of Race and Racism at UCL‘Hicks’ must-read book describes how it was possible for a human skull to be made into a drinking cup and used in a genteel Oxford college, well into the 21st century, as if empire were an eternal state of nature . . . Read it to learn new ways to be anti-racist, abolitionist and to tell other stories than those commemorated by the monuments that surround us, from statues, to museums and the police’ Nicholas Mirzoeff, author of White Sight‘Brave and clear-sighted. Hicks opens up an extraordinary conversation between the past and the present. This is a book about falling statues, but so much more. It’s about how we’ve been lied to, and how we can approach the past with honesty. Hicks asks whether history and archaeology should be used to justify actions we know impinge on the rights of others - or to understand ourselves better’ Alice Roberts, bestselling author of Crypt ‘Dan Hicks writes with grace and fierce focus about what we choose to remember and why, in our patterns of thought, our institutions and the built environment in which we live’ Eyal Weizman, director of Forensic ArchitectureThe culture war is over. If you want it to be. It wasn’t even a culture war; it was a war on culture. A sustained attack, Dan Hicks argues, in the form of the weaponisation of civic museums, public art, and even universities — and one that has a deeper history than you might think.Tracing the origins of contemporary conflicts over art, heritage, memory, and colonialism, Every Monument Will Fall joins the dots between the building of statues, the founding of academic disciplines like archaeology and anthropology, and the warehousing of stolen art and human skulls in museums — including the one in which he is a curator.Part history, part biography, part excavation, the story runs from the Yorkshire wolds to the Crimean War, from southern Ireland to the frontline of the American Civil War, from the City of London to the University of Oxford — revealing enduring legacies of militarism, slavery, racism and white supremacy hardwired into the heart of our cultural institutions.Every Monument Will Fall offers an urgent reappraisal of how we think about culture, and how to find hope, remembrance and reconciliation in the fragments of an unfinished violent past. Refusing to choose between pulling down every statue, or living in a past that we can never change, the book makes the case for allowing monuments to fall once in a while, even those that are hard to see as monuments, rebuilding a memory culture that is in step with our times.

Available Open Access under CC-BY-NC licence.How can Archaeology help us understand our contemporary world? This ground-breaking book reflects on material, visual and digital culture from the Calais “Jungle” – the informal camp where, before its destruction in October 2016, more than 10,000 displaced people lived.LANDE: The Calais 'Jungle' and Beyond reassesses how we understand ‘crisis’, activism, and the infrastructure of national borders in Refugee and Forced Migration Studies, foregrounding the politics of environments, time, and the ongoing legacies of empire.Introducing a major collaborative exhibit at Oxford’s Pitt Rivers Museum, the book argues that an anthropological focus on duration, impermanence and traces of the most recent past can recentre the ongoing human experiences of displacement in Europe today.

The common feature of landscape archaeology is its diversity – of method, field location, disciplinary influences and contemporary voices. The contributors to this volume take advantage of these many strands to investigate landscape archaeology in its multiple forms, focusing primarily on the link to heritage, the impact on our understanding of temporality, and the situated theory that arises out of landscape studies. Using examples from New York to Northern Ireland, Africa to the Argolid, these pieces capture the human significance of material objects in support of a more comprehensive, nuanced archaeology.

The common feature of landscape archaeology is its diversity – of method, field location, disciplinary influences and contemporary voices. The contributors to this volume take advantage of these many strands to investigate landscape archaeology in its multiple forms, focusing primarily on the link to heritage, the impact on our understanding of temporality, and the situated theory that arises out of landscape studies. Using examples from New York to Northern Ireland, Africa to the Argolid, these pieces capture the human significance of material objects in support of a more comprehensive, nuanced archaeology.

‘An extraordinary intervention. If you want to understand the stakes and the limitations of contemporary conflict over culture and colonial history this bold, provocative book is an indispensable resource’ Paul Gilroy, founding Director of the Sarah Parker Remond Centre for the Study of Race and Racism at UCL‘Hicks’ must-read book describes how it was possible for a human skull to be made into a drinking cup and used in a genteel Oxford college, well into the 21st century, as if empire were an eternal state of nature . . . Read it to learn new ways to be anti-racist, abolitionist and to tell other stories than those commemorated by the monuments that surround us, from statues, to museums and the police’ Nicholas Mirzoeff, author of White Sight‘Brave and clear-sighted. Hicks opens up an extraordinary conversation between the past and the present. This is a book about falling statues, but so much more. It’s about how we’ve been lied to, and how we can approach the past with honesty. Hicks asks whether history and archaeology should be used to justify actions we know impinge on the rights of others - or to understand ourselves better’ Alice Roberts, bestselling author of Crypt ‘Dan Hicks writes with grace and fierce focus about what we choose to remember and why, in our patterns of thought, our institutions and the built environment in which we live’ Eyal Weizman, director of Forensic ArchitectureThe culture war is over. If you want it to be. It wasn’t even a culture war; it was a war on culture. A sustained attack, Dan Hicks argues, in the form of the weaponisation of civic museums, public art, and even universities — and one that has a deeper history than you might think.Tracing the origins of contemporary conflicts over art, heritage, memory, and colonialism, Every Monument Will Fall joins the dots between the building of statues, the founding of academic disciplines like archaeology and anthropology, and the warehousing of stolen art and human skulls in museums — including the one in which he is a curator.Part history, part biography, part excavation, the story runs from the Yorkshire wolds to the Crimean War, from southern Ireland to the frontline of the American Civil War, from the City of London to the University of Oxford — revealing enduring legacies of militarism, slavery, racism and white supremacy hardwired into the heart of our cultural institutions.Every Monument Will Fall offers an urgent reappraisal of how we think about culture, and how to find hope, remembrance and reconciliation in the fragments of an unfinished violent past. Refusing to choose between pulling down every statue, or living in a past that we can never change, the book makes the case for allowing monuments to fall once in a while, even those that are hard to see as monuments, rebuilding a memory culture that is in step with our times.

World Archaeology at the Pitt Rivers Museum: a characterization introduces the range, history and significance of the archaeological collections of the Pitt Rivers Museum, Oxford. In 29 newly-commissioned essays written by a specialist team, the volume explores more than 136,000 artefacts from 145 countries, from the Stone Age to the modern period, and from England to Easter Island. Pioneering a new approach in museum studies, this landmark volume is an essential reference work for archaeologists around the world, and a unique introduction to the archaeological collections of one of the world’s most famous museums.

Pio Abad’s artistic practice is concerned with the personal and political entanglements of objects. His wide-ranging body of work, encompassing drawing, painting, textiles, installation and text, mines alternative or repressed historical events and offers counternarratives that draw out threads of complicity between incidents, ideologies and people. Deeply informed by unfolding events in the Philippines, where the artist was born and raised, his work emanates from a family narrative woven into the nation’s story. Abad’s parents were at the forefront of the anti-dictatorship struggle in the Philippines during the 1970s and 80s and it is the need to remember this history that has shaped the foundations of his work. This beautifully designed book accompanies the Ashmolean Museum's second exhibition of its new Ashmolean NOW series, featuring the work of Pio Abad. Abad’s artistic practice is concerned with the personal and political entanglements of objects. His wide-ranging body of work, which includes drawing, painting, installation, textiles and text, mines alternative or repressed historical events, offering counternarratives. Abad's new works link narratives found in the Museum's collections and Oxford with his personal life in the UK and Philippines, where the artist was born and raised. The book features a new text by Abad and contributions by art historical experts including Dan Hicks.

'Dan is a national treasure and one of America s great songwriters. Elvis Costello. 'Dan s songs were funny, serious, and entertaining, and the combo of old-timey folk, country, and jazz knocked me out. Matt Groening, creator of The Simpsons. 'Dan Hicks is like lightning in a bottle. Bette Midler. Dan Hicks didn t have his heart set on a career in music. It all just sort of happened to him. It didn t hurt, of course, that he was in the right place at the right time San Francisco, 1966 and had a front-row seat for the birth and death of the counterculture. Among other things, this is a classic story of the 60s. More importantly, it s a story of musical genius. By the time the Summer of Love limped to a close in the fall of 67, Hicks had quit the Charlatans the pioneering psych-rock band with whom he played the drums and turned to jazz, the music he d secretly loved all along, as he began building his own band, the Hot Licks. 'I just started taking ingredients I liked and putting them together to see what came out, Hicks writes.What came out was an amazing blend of complex time signatures, unusual instrumentation, and intricate vocal harmonies that took him to the top of the 70s rock world but also into a downward spiral of drink and drug abuse. Emerging from a long wilderness, which he writes about here with wit and candour, the man described by Tom Waits as 'fly, sly, wily, and dry eventually returned to recording and performing, making a number of acclaimed albums, including Beatin The Heat, a set of duets with Waits, Costello, Rickie Lee Jones, and more. Along the way, his music continued to subtly permeate the culture, turning up everywhere from The Sopranos to commercials for Levi s and Bic. Hicks passed away in early 2016, but his music, and the stories he tells here, remain as fresh and irresistible as ever. I Scare Myself takes readers on a journey behind the music, and into the life and mind of the fantastic artist who created it.