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The Archaeology of Maritime Landscapes
Maritime cultural landscapes are collections of submerged archaeological sites, or combinations of terrestrial and submerged sites that reflect the relationship between humans and the water. These landscapes can range in size from a single beach to an entire coastline and can include areas of terrestrial sites now inundated as well as underwater sites that are now desiccated. However, what binds all of these sites together is the premise that each aspect of the landscape –cultural, political, environmental, technological, and physical – is interrelated and can not be understood without reference to the others. In this maritime cultural landscape approach, individual sites are treated as ...
Wonderful Power
This work examines the archaeological record of copper mining in the Lake Superior area.
From Our Native Clay
Ironically, it was the Industrial Revolution of the nineteenth century that made the concept of art pottery possible. For the most part, this body of work was produced in reaction to industry's domination of production techniques, taste, and design. The various labels of "Art Pottery," "Art Furniture," "Art Metal," etc., have their origin in mid-nineteenth century England, where Summerly's Art Manufactures, an early experiment in enlisting artists to design for industry, was perhaps the first to use the "art" prefix. But even more important was John Ruskin, who condemned artistic objects made by machines as "worthless." He was repelled by the precision and repetition of industrial production. For him, beauty lay in the variations created by the hand of an artist or craftsman. -- Introduction.
Artist's Market, 1991
Graphic artists and fine artists looking for new marketing opportunities will find 2,500 buyers of all types of art in this new edition of Artist's Market. Handy information on tapping local markets and informative articles give artists the tips they need to succeed.
Artist's Market
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