Dan Hicks

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 brass plaques and carved ivory tusks 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.

The Benin Bronzes, Colonial Violence and Cultural Restitution

The Brutish Museums

Lesley McFadyen

This is the first volume to explore the place of photography in archaeology: the parallel histories of the two fields, their similarities and differences, and their current and future relationships. Since its earliest beginnings, photography has been innately archaeological. Its ability to freeze a moment of time gives photographic images an uncanny quality, whilst also allowing them to be a uniquely valuable recording tool. Photography has been a central element of archaeological method and practice since the late 19th century, and yet the apparent neutrality and passive objectivity of photographic images in the creation of archaeological knowledge is rarely interrogated. Meanwhile, archaeology's photographic character – the significance of the visual, of documentation, and of intervention in temporal process – remains even less explored. Digital technology has made photography both ubiquitous and ephemeral, questioning the status and authenticity of the image as material archive. Thus, despite their shared histories and present commonalities, these various intimate connections between archaeology and photography remain under-explored. This volume will mark a watershed in the emergence of a new generation of studies of archaeological photography, bringing together new studies of archaeological photography from leading researchers in the field, both of historical photographs in archives, and of contemporary practice. It explores the legacy of historical photography on contemporary archaeological fieldwork and image-making, and takes stock of what the vision for the future relationship between archaeology and photography might be, through seven key themes – time, materials, fieldwork, representation, documentation and the archive, and the profilmic.

Time, Objectivity and Archive

Archaeology and Photography

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 objectsare all stolen. Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of brass plaques and carved ivory tusks depicting the history of the Royal Court of the Obas of BeninCity, 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.

Studies in Contemporary and Historical Archaeology 3 This study uses the perspectives of what might be termed the 'empirical tradition' of British landscape archaeology that developed in the 1960s and 1970s, especially in industrial archaeology, to explore the early modern history of the 'garden' landscapes formed by British colonialism in the eastern Caribbean, and their place in the world. It presents a detailed chronological sequence of the changing material conditions of these English-/British-owned plantation landscapes during the 17th, 18th and early 19th centuries, with particular reference to the origins, history and legacies of the sugar industry. The study draws together the results of archaeological fieldwork and documentary research to present a progressive account of the historical landscapes of the islands of St Kitts and St Lucia: sketching a chronological outline of landscape change. This approach to landscape is characterised by the integration of archaeological field survey, standing buildings recording alongside documentary and cartographic sources, and focuses upon producing accounts of material change to landscapes and buildings. By providing a long-term perspective on eastern Caribbean colonial history: from the nature of early, effectively prehistoric contact and interaction in the 16th century, through early permanent European settlements and into the developed sugar societies of the 18th and 19th centuries, the study suggests a temporal and thematic framework of landscape change that might inform the further development of historical archaeology in the island Caribbean region. The broader aim of the study relates to exploring how archaeological techniques can be used to contribute a highly detailed, empirical case study to the interdisciplinary study of postcolonial landscapes and British colonialism. In order to achieve this goal, the study draws upon the techniques of what has been called the 'empirical tradition' of landscape archaeology.

An Historical Archaeology of Sugar Landscapes in the Eastern Caribbean

'The Garden of the World'

Mary C. Beaudry

Written by an international team of experts, the Handbook makes accessible a full range of theoretical and applied approaches to the study of material culture, and the place of materiality in social theory, presenting current thinking about material culture from the fields of archaeology, anthropology, geography, and science and technology studies.

The Oxford Handbook of Material Culture Studies

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.

The Cambridge Companion to Historical Archaeology

Alice Stevenson

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.

A Characterization

World Archaeology at the Pitt Rivers Museum

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.

Dan Hicks

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