A Quote by Edward Bulwer-Lytton, 1st Baron Lytton
Archaeology is not only the hand maid of history, it is also the conservator of art.
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What I will not do is continue to perpetuate stereotypes. I'm the daughter of a maid; why do I have to also play a maid? My mom was a maid so I didn't have to be a maid.
When you think about archaeology, archaeology is the only field that allows us to tell the story of 99 percent of our history prior to 3,000 B.C. and writing.
Archaeology in general is the recovery and study of the material culture of past civilizations. Biblical archaeology is as an application of the science of archaeology to the field of biblical studies. Through the comparison and integration of Scripture with the evidence of history and culture derived from archaeology, new insights into the biblical context of people and events, and sometimes the interpretation of the text itself, are possible. In this way archaeology serves as a necessary tool for biblical exegesis and for apologetic concerns.
I'm actually a hardcore otaku who likes maids more than having three meals a day. And I only read books related to maids. Also, I only visit maid cafes. Of course, I also collect maid figurines. I play games which feature female maids and it turns me on so much. Then I'll wear the maid uniforms and jump in joy. I'll take my leave now.
Archaeology, I found, comprehended all manner of excitement and achievement. Adventure is coupled with bookish toil. Romantic excursions go hand in hand with scholarly self-discipline and moderation. Explorations among the ruins of the remote past have carried curious men all over the face of the earth… Yet in truth, no science is more adventurous than archaeology, if adventure is thought of as a mixture of spirit and deed.
I've never really seen archaeology as being any different from history. What I love are the stories of human beings that were around 1,000 years ago and how they lived - archaeology is another aspect to that.
Newspapers are the second hand of history. This hand, however, is usually not only of inferior metal to the other hands, it also seldom works properly.
The history of art is not just the history of artists; it is also the history of the people who viewed art. And that wider perspective can help us see some of the reasons why the art of the ancient world should still matter to us.
Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.
I don't like the idea of nationalism, but on the other hand, I do see that there is a difference between British art, German art and Chinese art. This is because of the history, because each country has different history and each country reads and teaches that history differently.
The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.
There's a definite connection in terms of objects at hand - dealing with objects or material at hand. Pop art was very much enamored with popular imagery, and popular imagery was of course available and at hand. And land art was also using what was at hand.
When one of my Japanese teacups is broken, I imagine that the real cause was not the careless hand of a maid but the anxieties of the figures inhabiting the curves of that porcelain. Their grim decision to commit suicide doesn't shock me: they used the maid as one of us might use a gun.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
I try to teach a modernist and postmodernist position. On one hand, if you're a painter, you need to know the history of painting. But I'm also interested in the moment we live in. I love television, and movies, and books, and music. So I also think of art as this cultural production along with all this other stuff that's happening. So that's a kind of postmodern, not media-specific, but the times, what is your art relevant to this moment we live in versus media specificity? That's my teaching philosophy, both of those things are important.
After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.
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