Publications
Andreassen, E., Bjerck, H. and Olsen, B. 2010. Persistent Memories. Pyramiden: A Soviet Mining Town in the High Arctic. Trondheim: Tapir Akademisk Forlag.
Bailey, D.W. 2013. Cutting the earth / cutting the body. In A. Alfredo González-Ruibal (ed.) Reclaiming Archaeology: Beyond the Tropes of Modernity, pp. 337-45. London: Routledge.
Bailey, D.W. 2014. Art // archaeology // art: letting-go beyond. In I. Russell and A. Cochrane (eds), Art and Archaeology: Collaborations, Conversations, Criticisms, pp. 231-50. New York: Springer-Kluwer.
Bailey, D.W. 2014. Which ruins do we valorize? A new visual calibration for the Balkan past. In B. Olsen and Þóra Pétursdóttir (eds) Ruin Memories: Materiality, Aesthetics and the Archaeology of the Recent Past, pp. 215-29. London: Routledge.
Bailey, D.W. 2017. Art/Archaeology: what value artistic-archaeological collaboration? Journal of Contemporary Archaeology 4(2): 246-56.
Bailey, D.W. 2017. Disarticulate – repurpose – disrupt: art/archaeology. Cambridge Archaeological Journal 27(4): 691-701.
Bailey, D.W. 2018 Breaking the Surface: an Art/Archaeology of Prehistoric Architecture. Oxford: Oxford University Press.
Bailey, D.W. 2018. The Uexküll calibration: chronology and critical flicker fusion frequency. In S. Souvatzi, A. Baysal and E. Baysal (eds) Time and History in Prehistory, pp. 31-41. London: Routledge.
Bailey, D.W. 2020. Releasing the visual archive: on the ethics of destruction. In B. Olsen, M. Burstrøm, C. DeSilvey, and Þ. Pétursdóttir (eds) After Discourse: Things, Affects, Ethics, pp. 232-56. London: Routledge.
Bailey, D.W. 2020. Art/archaeology: the Ineligible project. In D.W. Bailey, S. Navarro, and Á. Moreira (eds) Ineligible: a Disruption of Artefacts and Artistic Practice, pp. 12-25. Santo Tirso: International Museum of Contemporary Sculpture.
Bailey, D.W. and Simpkin, M. 2015. Eleven minutes and forty seconds in the Neolithic: underneath archaeological time. In R. Van Dyke and R. Bernbeck (eds) Subjects and Narratives in Archaeology, p. 187-213. Boulder, CO.: University Press of Colorado.
Bailey, D.W., Cochrane, A. and Zambelli, J. 2010. Unearthed: a Comparative Study of Jōmon Dogū and Neolithic Figurines. Norwich: Sainsbury Centre for Visual Arts.
Bailey, D.W., Navarro, S. and Moreira, Á. 2020. Creative (un)makings: Disruptions in Art/Archaeology. Santo Tirso: International Museum of Contemporary Sculpture.
Bailey, D.W., Navarro, S. and Moreira, Á. (eds). 2020. Ineligible: A Disruption of Artefacts and Artistic Practice. Santo Tirso: International Museum of Contemporary Sculpture.
Barth, T. and Knutsen, A.T. 2019. “Who’s afraid of Virginia Woolf?”. Art, archaeology and forensic anthropology. In D. Gheorghiu and T. Barth (eds) Artistic Practices and Archaeological Research, pp. 98-124. Oxford: Archaeopress.
Bender, B., Hamilton, S. and Tilley, C. 2007. Stone Worlds: Narrative and Reflexivity in Landscape Archaeology. Walnut Creek: Left Coast Press.
Bonaventura, P., Chevalier, T., Archer, M. and Miles, D. 2003. Segsbury Project: Simon Callery. London: English Heritage.
Bonaventura, P. 2011. Communicating in the present tense: an interview with Simon Callery.” In Sculpture and Archaeology, edited by P. Bonaventura and A. Jones, 197–214. Burlington, VT: Ashgate.
Bonaventura, P. and Jones, A. (eds) 2011. Sculpture and Archaeology. Burlington: Ashgate.
Calegari, G. 2019. Convergences: archaeology and art. In D. Gheorghiu and T. Barth (eds) Artistic Practices and Archaeological Research, pp. 13-20. Oxford: Archaeopress.
Callery, S. 2004. Segsbury Project: art from excavation. In C. Renfrew, C. Gosden and E. DeMarrais (eds) Substance, Memory, Display: Archaeology and Art, pp. 63–78. Cambridge: McDonald Institute for Archaeological Research.
Callery, S. 2014. The story of Trench 10. In C. Gosden and G. Lock (eds) Histories in the Making: Excavations at Alfred’s Castle 1998-2000, pp. 123-45. Oxford: Institute of Archaeology.
Callery, S. 2020. Contact paintings. In D.W. Bailey, S. Navarro, and Á. Moreira (eds) Ineligible: a Disruption of Artefacts and Artistic Practice, pp. 39-54. Santo Tirso: International Museum of Contemporary Sculpture.
Callery, S. and Gant, S. 2018. Rhych. Cardiff: Oriel Plas Glyn Y Weddw.
Cameron, S.C. 2004. Art from Archaeology: Simon Callery’s Segsbury Project in Cross-Disciplinary Context. Unpublished Master’s Thesis, Department of Archaeology, Cambridge University.
Carlos, I. and Fabiana, R. 2016. António Ole. Lunanda, Los Angelese, Lisboa. Lisbon: Museu Calouste Gulbenkian.
Chambers, I., Grechi, G., and Nash, M. (ed). 2014. The Ruined Archive. Milan: Mela Books.
Cochrane, A. and Russell, I. 2014. Interface I: day of the figurines. In I. Russell and A. Cochrane (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 83-98. New York: Springer.
Cook, P. 2014. Art and Kilmainham Gaol: negotiating art’s critical intervention in the heritage site. In I. Russell and A. Cochrane (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 115-27. New York: Springer
Cooper, A., Garrow, D., Knight, M. and McFayden, L. 2004. The pot, the flint and the bone and the house beautiful. In Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) Substance, Memory, Display: Archaeology and Art, pp. 97-102. Cambridge: McDonald Institute.
Coppes, J.B. and Lee, D.H.J. 2018. Flow Country. Glasgow: Publication Studio Glasgow.
Craven, M. 2018. Primer: Matthew Craven. New York: Anthology Editions.
Dahl, K. 2018. Unpacking the Bale: an Archive of Post-Consumer Clothing. MA Thesis, Department of Anthropology, San Francisco State University.
Danielsson, I.B. 2019. Art as entangled material practices: the case of Late Iron Age Scandinavian gold foil figures in the making. In D. Gheorghiu and T. Barth (eds) Artistic Practices and Archaeological Research, pp. 21-30. Oxford: Archaeopress.
Dann, R.J. and Jollet, E. 2018. Looking for trouble: archeology, art and interdisciplinary encounters. The Senses and Society 13(3): 299-316.
Dawson, I. and Reilly, P. 2019. Messy assemblages, residuality and recursion within a phygital nexus. Epoiesen http://dx.doi.org/10.22215/epoiesen/2019.4
Diller, E. and Scofidio, R. 1992. Case no. 00-17163. In J. Crary and S. Kwinter (eds), Zone 6: Incorporations, pp. 344–61. New York: Zone Books.
Elgström. P. and Magnusson, J. 2020. SKYMMER OCH SER: exercise with assemblage (of artefacts) from the excavation preceding the San Francisco Transbay Transit Center. In D.W. Bailey, S. Navarro, and Á. Moreira (eds) Ineligible: a Disruption of Artefacts and Artistic Practice, pp. 27-38. Santo Tirso: International Museum of Contemporary Sculpture.
Epoiesen: A Journal for Creative Engagement in History and Archaeology (https://epoiesen.library.carleton.ca/)
Evans, C. 2004. Unearthing displacement: Surrealism and the ‘archaeology’ of Paul Nash. In C. Renfrew, C. Gosden and E. DeMarrais (eds.) Substance, Memory, Display: Archaeology and Art, pp. 103–117. Cambridge: McDonald Institute.
Farstadvoll, S. 2019.Vestigial Matters: Contemporary Archaeology and Hyperart. Norwegian Archaeological Review 5(1): 1-19.
Ferraby, R and St. John, R. 2020. Soundmarks. Bowland: Pattern and Process.
Finn, C. 2004. Past Poetic: archaeology in the poetry of WB Yeats and Seamus Heaney. London: Duckworth.
Finn, C. 2014. Home: an installation for living in, chapter on the Leave Home Stay project. In I. Russell and A. Cochrane, (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 115-27. New York: Springer.
Finn, C. and Hedig, M. (eds). 2001. Outside Archaeology: Material Culture and the Poetic Imagination. Oxford: British Archaeological Reports.
Frederick, U.K. (ed.) 2020. Expanding the Field: Encounters in Archaeology and Art. Lucky U Press.
Frederick, U.K. and Ireland, T. 2019. “Last Drinks at the Hibernian”: practice-led research into art and archaeology, Australian Archaeology 85(3): 279-94.
Ganchrow, D. 2020. MAN MADE: Contemporary prehistoric stone-tool design. In G. Cooney, B. Gilhooly, N. Kelly, and S. Mallía-Gues (eds) Cultures of Stone: an Interdisciplinary Approach to the Materiality of Stone, pp. 103-22. Leiden: Sidestone.
Ganchrow, D. 2020. Product design to readymade: a lineage of object making. In D.W. Bailey, S. Navarro, and Á. Moreira (eds) Ineligible: a Disruption of Artefacts and Artistic Practice, pp. 73-92. Santo Tirso: International Museum of Contemporary Sculpture.
Gant, S. and Reilly, P. 2018. Different expressions of the same mode: a recent dialogue between archaeological and contemporary drawing practices. Journal of Visual Art Practice 17(1): 100-120.
Gheorghiu, D. and Barth, T. (eds) 2019. Artistic Practices and Archaeological Research. Oxford: Archaeopress.
González-Ruibal, A. 2018. Aesthetics (Chapter 5). In An Archaeology of the Contemporary Era. London: Routledge.
Gormley, A. 2004. Art as process. In Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) Substance, Memory, Display: Archaeology and Art, pp. 131-52. Cambridge: McDonald Institute.
Gosden, C. 2004. Aesthetics, intelligence and emotions: implications for archaeology. In E. DeMarrais, C. Gosden and C. Renfrew (eds) Rethinking Materiality: the Engagement of Mind with the Material World, pp. 33-42. Cambridge: McDonald Institute.
Gosden, C. 2004. Making and display: our aesthetic appreciation of things and objects. In Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) Substance, Memory, Display: Archaeology and Art, pp. 35-46. Cambridge: McDonald Institute.
Gosden, C. and Lock, G. 2014. Histories in the Making: Excavations at Alfred’s Castle, 1998-2000. Oxford: Oxford University School of Archaeology
Griffiths, R. and Wei, L. 2018. Reverse archaeology: experiments in carving and casting space. Journal of Contemporary Archaeology 4: 195-213.
Griffiths, R. and Wei, L. (2018). Tunneling between landscape and artefact: an itinerary of points and vectors. In B. Stringer (ed.) Rurality Re-imagined: Villagers, Farmers, Wanderers, Wild Things, pp.172-185. San Francisco, CA.: Applied Research and Design Publishing.
Hall, A. 2020. By drawing we unframe Scotland’s community heritage conference. Journal of Contemporary Archaeology 7(1): 4-22.
Hamilakis, Y. and Ifantidis, F. 2016. Camera Kalaureia: An Archaeological Photo-Ethnography. Oxford: Archaeopress.
Hamilakis, Y., Anagnostopoulos, A. and Ifantidis, F. 2009. Postcards from the edge of time: archaeology, photography, archaeological ethnography (a photo-essay). Public Archaeology 8(2-3): 283-309
Heath, C. 2011. Unsighted tactile drawings of prehistoric archaeological objects. In S. Mills (ed.) Interventions: Măgura Past and Present, pp. 185-202. București: Editura Renaissance.
Heath, C. 2014. Pictorial Essay A: Out of Sight. In P. Dent (ed.) Sculpture and Touch, pp. 123–145. Farnham: Ashgate.
Ifantidis, F. 2013. Archaeographies: Excavating Neolithic Dispilio. Oxford: Archaeopress.
Ifantidis, F. 2015. A figurine and its scale, a scale and its figurine. Internet Archaeology 39.
Jameson, J.H., Ehrenhard, J.E. and Finn, C. (eds) 2003. Ancient Muses: Archaeology and the Arts. Tuscaloosa, AL,: University of Alabama Press.
Jasmin, M. 2011. The Brain of the Archaeologist. Paris: Deux-Points.
Jasmin, M. 2011. The grid in context. In S. Mills (ed.) Interventions: Măgura Past and Present, pp. 217-36. București: Editura Renaissance.
Jasmin, M. 2014. Artists connecting archaeologists: encountering the third kind. In I. Russell and A. Cochrane (eds) Art and Archaeology: Collaborations, Conversations, Criticisms, pp. 157–78. New York: Springer-Kluwer.
Jones, A.M. 2004. Matter and memory: colour, remembrance and the Neolithic/Bronze Age transition. In E. DeMarrais, C. Gosden and C. Renfrew (eds) Rethinking Materiality: the Engagement of Mind with the Material World, pp. 167-78. Cambridge: McDonald Institute.
Jones, A.M. 2014. The cave and the mind: towards a sculptural and experimental approach to Upper Palaeolithic Art. In I. Russell and A. Cochrane, (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 21-34. New York: Springer.
Jones, A.M. and Cochrane, A. 2018. The Archaeology of Art: Materials, Practices, Affects. London: Routledge.
Jones, L. 2018. Forward. In M. Craven, Primer: Matthew Craven, page v. New York: Anthology Editions.
Lee, D.H.J. 2016. Map Orkney month: imagining archaeological mappings. Livingmaps Review 1(1): 1-25.
Lee, D.H.J. 2018. Experimental mapping in archaeology: process, practice and archaeologies of the moment. In M. Gillings, P. Hacıgüzeller and Lock, G. (eds) Re-Mapping Archaeology: Critical Perspectives, Alternative Mappings, pp. 143-76. London: Routledge.
Lee, D.H.J. and Thomas A 2015. Walking (in)visible lines: archaeologies in between. Flettverk 2 (SCENE): 4-13.
Liss, D. 2005. Kent Monkman: Miss Chief’s return: subverting the canon through sublime landscapes and saucy performances. Canadian Art (Fall): 79–85.
Liss, D. 2008. Kent Monkman: the wild west lives again. In A. McClellan (ed.) The Triumph of Mischief: Kent Monkman, pp. 103-6. Victoria: Art Gallery of Greater Victoria.
Lock, G., Gosden, C. and Daly, P. (eds) 2005. Segsbury Camp. Oxford: Oxford University School of Archaeology.
MacGregor, G. 2020. Exploring the value of creative archaeologies. Barrow 4: 16-17.
March, P. 2017. Playing with clay and the uncertainty of agency: a material engagement theory perspective. Phenomenology and Cognitive Sciences 18: 133-51.
March, P. 2021. Project Holocene: the clayful phenomenology of Jōmon flame pots. Cambridge Archaeological Journal 31(1): 1019.
Marin-Viadel, R. 2015. Everything means something: Th e archaeological excavation of the Temple of Millions of Years of Thutmose III from the point of view of contemporary visual arts. In M.S. Álvarez and A.J. Miñarro (eds) The Temples of Millions of Years in Thebes - Los Templos de Millones de Años en Tebas, pp. 403-37. Granada: University of Granada.
Marila, M. 2020. On the nature of the aesthetic in (and) art/archaeology. In D.W. Bailey, S. Navarro, and Á. Moreira (eds) Ineligible: a Disruption of Artefacts and Artistic Practice, pp. 105-119. Santo Tirso: International Museum of Contemporary Sculpture.
McIntosh, D. 2006. Kent Monkman’s postindian diva warrior: from simulacrum historian to embodied liberator. Fuse 29(3): 12–23.
McLucas, C. 2000. Ten feet and three quarters of an inch of theatre. In N. Kaye (ed.) Site-Specific Art: Performance, Place and Documentation, pp. 125-38. London: Routledge.
Madill, S.J. 2008. Intelligent mischief: the paintings of Kent Monkman. In A. McClellan (ed.) The Triumph of Mischief: Kent Monkman, pp. 25-30. Victoria: Art Gallery of Greater Victoria.
Martínez, J.A.M. 2019. Art or creativity? From archaeological photo-ethnography to art: approaches to two contemporary sites. In D. Gheorghiu and T. Barth (eds) Artistic Practices and Archaeological Research, pp. 59-75. Oxford: Archaeopress.
Mattes, C. 2008. An interview with Miss Chief Eagle Testickle. In A. McClennan (ed.) The Triumph of Mischief: Kent Monkman, pp. 107-110. Victoria:Art Gallery of Greater Victoria.
Mills, S. (ed.) 2011. Interventions: Măgura Past and Present. București: Editura Renaissance.
Mithen, S. 2004. Contemporary Western art and archaeology. In Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) Substance, Memory, Display: Archaeology and Art, pp. 153-68. Cambridge: McDonald Institute.
Morgan, C. 2016. Analog to digital: transitions in theory and practice in archaeological photography at Çatalhöyük. Internet Archaeology 42. http://dx.doi.org/10.11141/ia.42.7
Muşkara, Ü., Tunçelli, O. ve Şahin, S. 2021. Art and archaeology close encounters of the third kind. The Turkish Online Journal of Design Art and Communication 11(2): 732-49.
Navarro, S. 2013. Art, archaeology and museums: contemporary connections and mediations. Vox Musei: Arte e Património (Centre for Research and Studies in Fine Arts, University of Lisbon) 1(2): 368-75.
Navarro, S. 2013. Meetings: art as archaeology, archaeology as art. In J.C. Carvalho (ed.) Arte e Ciências em Diálogo, pp. 355-60. Coimbra: Grácio.
Navarro, S. 2014. Pots and transfigurations: archaeology as a pretext for sculpture. In F. Gaspar and P. Rasquete (eds) Rotas da Cerâmica a Sul do Tejo, pp. 124-33. Lisbon: Institute for Employment and Training.
Navarro, S. 2014. Escultura, Arqueologia e Museus Transfigurações e Mediações Contemporâneas. PhD Dissertation, Faculty of Fine Arts. University of Lisbon.
Navarro, S. 2020. Beyond reconstruction. In D.W. Bailey, S. Navarro and Á. Moreira (eds). 2020. Creative (un)makings: Disruptions in Art/Archaeology, pp. 24-27. Santo Tirso: International Museum of Contemporary Sculpture.
Nolle, J.S. 2020. Homelessness in the living room. In D.W. Bailey, S. Navarro, and Á. Moreira (eds) Ineligible: a Disruption of Artefacts and Artistic Practice, pp. 55-72. Santo Tirso: International Museum of Contemporary Sculpture.
O’Connor, B. 2014. Dust and debitage: an archaeology of Francisc Bacon’s studio. In I. Russell and A. Cochrane (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 131-40. New York: Springer
Pearson, M. and Shanks, M. 2001. Theatre/Archaeology. London: Routledge.
Pearson, M. and Shanks, M. 2014. Pearson/Shanks – Theatre/Archaeology – return and prospect. In Russell, I. and Cochrane, A. (eds) Art and Archaeology: Collaborations, Conversations, Criticisms, pp. 199–230. New York: Springer-Kluwer.
Perry, S. 2009. Fractured media: challenging the dimensions of archaeology’s typical visual modes of engagement. Archaeologies 5(3): 389-415.
Petersson, B., Burke, D., Kerin, M., Nunan, M., Walsh, M., Kvamme, H., McKenna, P., Ó Maoldúin, R., Carr, D. and Bergh, S. 2020. Experimental heritage as practice: approaching the past through the present at the intersection of art and archaeology. Internet Archaeology 55. https://doi.org/10.11141/ia.55.5
Pétursdóttir, Þ. and Olsen, B. 2014. Imaging modern decay: the aesthetics of ruin photography. Journal of Contemporary Archaeology 1(1): 7-23.
Pollard, J. 2004. The art of decay and the transformation of substance. In Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) Substance, Memory, Display: Archaeology and Art, pp. 47-62. Cambridge: McDonald Institute.
Rea, W. 2011. Shared sites and misleading affinities: sculpture as archaeology, archaeology as sculpture. In P Bonaventura and A. Jones (eds) Sculpture and Archaeology, pp. 19-30. London: Routledge.
Reilly, P. and Dawson, I. 2021. Track and trace, and other collaborative Art/Archaeology bubbles in the phygital pandemic. Open Archaeology 7(1): 291–313. https://doi.org/10.1515/opar-2020-0137. [open access]
Reilly, P., Callery, S., Dawson, I. and Gant, S. 2021. Provenance illusions and elusive paradata: when archaeology and art/archaeological practice meets the phygital. Open Archaeology 7(1): 454-481. https://doi.org/10.1515/opar-2020-0143 [open access].
Renfrew, C. 2003. Figuring It Out: What Are We? Where Do We Come From? The Parallel Visions of Artists and Archaeologists. London: Thames and Hudson.
Renfrew, C. 2004. Art for archaeology. In C. Renfrew, C. Gosden and E. DeMarrais (eds.) Substance, Memory, Display: Archaeology and Art, pp. 7–34. Cambridge: McDonald Institute.
Renfrew, C. 2014. Colin Renfrew: a conversation. In I. Russell and A. Cochrane, (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 9-20. New York: Springer
Renfrew, C. 2015. Colin Renfrew: where are we going? (Interview with Will Corwin). Art Papers (Nov/Dec). https://www.artpapers.org/colin-renfrew-where-are-we-going/
Renfrew, C., Gosden, C. and DeMarrais, E. 2004. Introduction: art as archaeology and archaeology as art. In Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) Substance, Memory, Display: Archaeology and Art, pp. 1-6. Cambridge: McDonald Institute.
Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) 2004. Substance, Memory, Display: Archaeology and Art. Cambridge: McDonald Institute.
Rietveld, E. and Rietveld, R. 2017. Hardcore heritage: imagination for preservation. Frontiers in Psychology 8: 1-3.
Roberts, L.A. and Sterling, C. 2017. Entangled concepts and participatory practices across archaeology, heritage and art. Journal of Contemporary Archaeology 4(2): 130-8.
Roelstraete, D. (ed) 2013. The Way of the Shovel: on the Archaeological Imaginary in Art. Chicago: Museum of Contemporary Art.
Russell, I.A. 2007. Visualizing archaeologies: a manifesto. Cambridge Archaeological Journal 17(1): 3-19.
Russell, I.A. 2014. Art and archaeology: the Abhar agus Meon exhibition series. In I. Russell and A. Cochrane, (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 61-82. New York: Springer
Russell, I.A and Cochrane, A. (eds). 2014. Art and Archaeology: Collaborations, Conversations, Criticisms. New York: Springer-Kluwer.
Saunders, N. 2004. Art of war: engaging the contested object. In Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) Substance, Memory, Display: Archaeology and Art, pp. 119-30. Cambridge: McDonald Institute.
Schneider, A. 2008. Three modes of experimentation with art and ethnography. Journal of the Royal Anthropological Institute 14:171-94.
Schneider, A., and Wright, C. 2006. The challenge of practice. In A. Schneider and C. Wright (eds) Contemporary Art and Anthropology, pp. 1-27. Oxford: Berg.
Schofield, J. 2009. Constructing place: when artists and archaeologists meet. In J. Schofield (ed.) Aftermath: Readings in the Archaeology of Recent Conflict, pp. 185- 96. New York: Springer.
Shanks, M. 1992. Experiencing the Past: On the Character of Archaeology. London: Routledge.
Shanks, M. 1997. Photography and archaeology. In B. Molyneaux (ed.) The Cultural Life of Images: Visual Representation in Archaeology, pp, 73–107. London: Routledge.
Shanks, M. 2004. Three Rooms: Archaeology and Performance. Journal of Social Archaeology 4(2): 147–80.
Shanks, M. and Svabo, C. 2013. Archaeology and photography: a pragmatology. In A. González-Ruibal (ed.) Reclaiming Archaeology: Beyond The Tropes Of Modernity, pp. 89-102. London: Routledge.
Siegert, N. 2010. From the border of the city to the shore of the island. Nka: Journal of Contemporary Art 26: 38-47.
Silva, P. and Moreira, I. 2022. Curadoria em arte/arqueologia: processos de proto e pós-escavação [Curating art/archaeology: proto and post-excavation processes]. Midas 15 (Decembr 20022) (https://doi.org/10.4000/midas.3574)
Sjöstrand, Y. 2019. Heidegger at work: an archaeological employment of a theory of truth in art. In D. Gheorghiu and T. Barth (eds) Artistic Practices and Archaeological Research, pp. 76-88. Oxford: Archaeopress.
Smith, C. 2017. Beyond metaphor: archaeology as a social and artistic practice. Journal of Visual Art Practice 15(2-3): 270-85.
Sorrell, J. 2017. Art and archaeology: the visualisation of Orkney. Antiquity 91:1-9.
Sullivan, G. 2005. Art Practice as Research: Inquiry in the Visual Arts. Thousand Oaks, CA.: Sage.
Synnestvedt, A. 2016. Can You Dig It? Gothenburg: University of Gothenburg Press.
Thomas, A. 2014. Creating contexts: between the archaeological site and art gallery. In I. Russell and A. Cochrane (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 141-56. New York: Springer.
Thomas, A., Lee, D.H.J., Frederick, U. and White, C. (eds) 2017. Beyond art/archaeology: research and practice after the creative turn. Journal of Contemporary Archaeology 4(2): 219-29.
Thorne, S. 2011. Măgura: Romanian Village Soundscape. Cardiff: Simon Thorne Music.
Thorne, S. 2011. Some Spaces. Cardiff: Simon Thorne Music.
Thorne, S. 2011. Sounds like nothing. In S. Mills (ed.) Interventions: Măgura Past and Present, pp. 93-118. București: Editura Renaissance.
Tilley, C., Hamilton, S. and Bender, B. 2000. Art and the re-presentation of the past. Journal of the Royal Anthropological Institute, 6, 35–62.
Tuominen, S. 2020. Collaborative bodies in the (un)making: Audactiv. In D.W. Bailey, S. Navarro, and Á. Moreira (eds) Ineligible: a Disruption of Artefacts and Artistic Practice, pp. 93-104. Santo Tirso: International Museum of Contemporary Sculpture.
Van Dyke, R. M. 2006. Seeing the past: visual media in archaeology. American Anthropologist 108(2): 370-84.
Vierke, U. and Hossfeld, J. 2009. António Ole - Hidden Pages. Beyreuth: Peter Hammer Verlag.
Vilches, F. 2007. The art of archaeology: Mark Dion and his Dig Projects. Journal of Social Archaeology 7 (2): 199–223.
Wall, G. and Hale, A. 2020. Art and archaeology: uncomfortable archival landscapes. International Journal of Art and Design Education 39(4): 770-85.
Wallis, J. 2011. Stainless steel/standing stones: reflections on Anish Kapoor at the Rollright Stones. In P. Bonaventura and A. Jones Sculpture and Archaeology, pp. 133-60. Burlington: Ashgate.
Watson, A. 2004. Making space for monuments: notes of the representation of experience. In Renfrew, C., Gosden, C. and DeMarrais, E. (eds.) Substance, Memory, Display: Archaeology and Art, pp. 79-96. Cambridge: McDonald Institute.
Watterson, A., Baxter, K. and Watson, A. 2014. Digital dwelling at Skara Brae. In I. Russell and A. Cochrane (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 115-27. New York: Springer
Wei, L. 2019. Epigraphy in the landscape: intersections with contemporary ink painting and land art. In D. Gheorghiu and T. Barth (eds) Artistic Practices and Archaeological Research, pp. 125-44. Oxford: Archaeopress.
Wickstead, H. 2009. The Uber Archaeologist: art, GIS and the male gaze revisited. Journal of Social Archaeology 9(2): 249-71.
Wickstead, H. (ed.) 2010. Touchstone: Contemporary Art Encounters Archaeology. Salisbury: Salisbury and South Wiltshire Museum.
Wickstead, H. 2013. Between the lines: drawing archaeology. In P. Graves-Brown, R. Harrison and A. Piccini (eds) Oxford Handbook of the Archaeology of the Contemporary World, pp. 549-64. Oxford: Oxford University Press.
Wickstead, H. 2014. Another proof of the preceding theory: film, materialities and Stonehenge. In I. Russell and A. Cochrane (eds) Art/Archaeology: Collaborations, Conversations, Criticisms, pp, 179-98. New York: Springer.
Wickstead, H. and Barber, M. 2015. Concrete prehistories: the making of megalithic modernism. Journal of Contemporary Archaeology 2(1): 195-216.
Wieczorek, M. 2015. Postmodern exbibtion discourse: anthropological study of an art display case. Journal of Science and Technology of the Arts 7(2): 19-24.
Witmore, C. 2008. Four archaeological engagements with place mediating bodily experience through peripatetic video. Visual Anthropology Review 20(2): 57-72.
Video, Audio, Social
Art to Archaeology to Art to Archaeology (2008) - Doug Bailey University College Dublin, Scholarcast (http://www.ucd.ie/scholarcast/scholarcast9.html).
Breaking the Surface: Drilling the Book (2018) - Doug Bailey - San Francisco State University (https://vimeo.com/318865363).
Eternity was Born in the Village. (2010) [34 mins] Filmed and edited by Peter Biella and Ivan Druvofka. Philadelphia: Bilingual Media.
Măgura: Romanian Village Soundscape (2011) - Simon Thorn. Cardiff: Simon Thorne Music.
Releasing the Amphora (2019) - at TAG Syracuse. (https://vimeo.com/334554728) and (https://www.facebook.com/Releasing-the-Amphora-347052559341222/).
Releasing the [Slide] Archive (2017) - at the Centre for Advanced Study, Norwegian Academy of Sciences, Oslo (https://vimeo.com/314574329).
Some Spaces (2011) - Simon Thorn. Cardiff: Simon Thorne Music.
Symphony in Stone (no date) - Ian Cross and Ezra Zubrow. Composition made from sounds recorded playing Palaeolithic flint blades (copyright Ian Cross and Ezra Zubrow).
Twenty minutes inside out: landscape transformation in Neolithic southeastern Romania. [120 mins.] Doug Bailey. (https://vimeo.com/12698378).