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Siwa
Siwa is a remote oasis deep in the heart of the Egyptian desert near the border with Libya. Until an asphalt road was built to the Mediterranean coast in the 1980s, its only links to the outside world were by arduous camel tracks. As a result of this isolation, Siwa developed a unique culture manifested in its crafts of basketry, pottery, and embroidery and in its styles of costume and silverwork. The most visible and celebrated example of this was the silver jewelery that was worn by women in abundance at weddings and other ceremonies. Based on conversations with women and men in the oasis and with reference to old texts, this book describes the jewelery and costume at this highpoint of Siw...
The Lie Became Great
The Lie Became Great explores the closed society of international plunderers and forgers which thrives as a subculture of the Art World. These multi-cultural denizens include antiquity dealers, collectors, museum curators, forgers working in conjunction with auction houses, museums and galleries. Forgeries are made to be sold, and a great number pass into the Art World - collections, exhibitions, catalogues, and popular and scholarly journals - complete with their fabricated stories of excavation, and how they were found. The Lie Became Great documents the success and activities of one small corner of this vast network - artifacts form the Ancient Near East - with hundreds of detailed catalogue entries of forgeries. The participants in this society gain money, prestige, power, position as they distort and irretrievably damage the true story of our cultural heritage. STYX PUBLICATIONS
The Lie Became Great
A thrilling analysis of the world of plunderers, forgers, antiquity dealers, collectors, museums, auction houses with one thing in common: a vivid interest in the Ancient Near East.
The Amasis Painter and his World
The Amasis Painter was one of ancient Greece's greatest vase painters, yet his own name has not been recorded, and he is known today only by the name of the potter whose works he most often decorated. A true individualist in the history of Athenian painting, he produced work distinguished by its delicacy, precision, and wit. When the Amasis Painter began his artistic career around 560 B.C., Attic black-figure vase-painting was already fully established and about to overtake Corinthian pottery in the competition for the Etruscan market. Toward the end of his extraordinarily long career around 515 or even later-the red-figure technique had been invented and was rapidly supplanting black-figure...
The Explicit Material
The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds - manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage - may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation.
Personal Styles in Early Cycladic Sculpture
Annotation "Personal Styles in Early Cycladic Sculpture represents the culmination of thirty-five years of study. Pat Getz-Gentle offers here much new material and many fresh insights into a tradition, rooted in the Neolithic period, that spanned most of the third millennium B.C. She begins with a review of this tradition, placing particular emphasis on the stages leading to the reclining figure with folded arms that is the unique and quintessential icon of the early Bronze Age culture at the center of the Aegean. She then focuses on the styles of fifteen sculptors, several of whom are identified and discussed for the first time in this volume. By introducing little-known pieces attributable to these sculptors, she illuminates various phases of their artistic development."--BOOK JACKET. Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Islamic Art Collections
An annotated index and general orientation of Islamic art collections in museums, libraries, other institutions and on private hands. Includes a short description of each collection, its main characteristics, documentation, publications and exhibitions.
The Tomb of Three Foreign Wives of Tuthmosis III
This book results from a collaborative effort to reconstruct the 15th-century BC tomb of three foreign wives of Tuthmosis III, discovered and robbed by villagers near Luxor in 1916. A general account was published by Herbert Winlock in 1948 (The Treasure of Three Egyptian Princesses, New York, The Metropolitan Museum of Art). The present volume differs substantially in the type and extent of documentation provided and in interpretation. Verification is provided of tomb provenance for a number of objects, for example, while other objects previously thought to have come from the tomb are now considered forgeries. The text explores and documents the location of the tomb in the southwest valleys at Thebes; field work conducted by The Metropolitan Museum of Art at the site in 1988; art market finds alleged to have come from the tomb; and the names of the foreign wives and the life they might have led.
AMILLA
Contributions by 34 scholars are brought together here to create a volume in honor of the long and fruitful career of Guenter Kopcke who is the Avalon Foundation Professor in the Humanities at the Institute of Fine Arts, New York University. Articles pertain to various topics on the ancient art, architecture, and archaeology of the greater Eastern Mediterranean region: from Pre-Dynastic Egypt to the Bronze Age Aegean and Anatolia, Cyprus and the Near East, and Etruscan Italy.
Toward a Postcolonial Reading of the Epistle of James
Toward a Postcolonial Reading of the Epistle of James offers an interpretation of Jas 2:1-13 putting the text in the midst of the Roman imperial system of rank. This study shows that the conflict of the text has more to do with differences of rank than poverty and wealth. The main problem is that the Christian assemblies are acting according to Roman cultural etiquette instead of their Jewish-Christian heritage when a Roman equestrian and a beggar visit the assembly. The members of the assemblies are accused of having become too Roman. From a postcolonial perspective, this is a typical case of hybrid identities. Additional key concepts from postcolonialism, such as diaspora, ‘othering’, naming of oppressors, and binarisms such as coloniser/colonised, centre/margin, honour/shame and power/powerless, are highlighted throughout the study.
