By Tony Bennett
Contributing to present debates on relationships among tradition and the social, and the the quickly altering practices of contemporary museums as they search to shed the legacies of either evolutionary conceptions and colonial technology, this crucial new paintings explores how evolutionary museums built within the united states, united kingdom, and Australia within the overdue 19th century.
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Additional info for Pasts Beyond Memory: Evolution, Museums, Colonialism (Museum Meanings)
Example text
The 1880s Silber & Fleming Glass and China Book (Silber & Fleming 1990) includes examples of traditional wares with handpainted rim banding and others with floral borders. c. ware), much of which is shown in utilitarian forms such as foot baths, bed pans, chamber pots, and slop pails – a perfect illustration of Miller’s (1993) concept of ‘demand entropy’ in operation. As applied to ceramics, demand entropy results in a situation where, through time, originally popular wares cycle down in price and form or drop out altogether.
Printed diamond-shaped registry mark on reverse for May 6, 1882; ‘London’ pattern mark; and mark indicating manufacture by Powell, Bishop & Stonier, Hanley, England. ) Beyond consumption 39 ceramics, such as English country scenes or architectural or nautical elements. , turquoise and various other bright overglaze colors on bone china; pastels on majolica; and red, black, blue, and blue-black on transfer-printed earthenwares. One pattern might be transformed into many through the use of handpainted accents, gilding, or luster decoration.
For example, in the ethno-archaeology of traditional communities, many investigators, including Lewis Binford (1976), Susan Kent (1984), James Skibo (1994), and Brian Hayden (1987; Hayden and Cannon 1984), have recorded and analyzed imported artifacts of industrial manufacture. These projects suggest that ethnoarchaeology in traditional societies, and modern material culture studies in industrial societies, merge seamlessly. Evidently, the ‘us’ in the ‘archaeology of us’ is becoming more inclusive, taking in all peoples who participate, even marginally, in the modern world system.