Winner of the 2018 Royal Numismatic Society's Lhotka Memorial Prize Defacing the Past: Damnation and Desecration in Imperial Rome is published by Spink in collaboration with the British Museum to accompany the author's current exhibition in Gallery 69a.

Ralph Waldo Emerson once said that Òall history becomes subjective,Ó that, in fact, Òproperly there is no history, only biography.Ó Today, EmersonÕs observation is hardly revolutionary for archaeologists; it has become conventional wisdom that the present is a battleground where interpretations of the events and meanings of the past are constantly being disputed. What were the major events? Whose lives did these events impact, and how? Who were the key players? What was their legacy? We know all too well that the answers to these questions can vary considerably depending on what political, social, or personal agenda is driving the response. Despite our keen eye for discerning historical spin doctors operating today, it has been only in recent years that archaeologists have begun exploring in detail how the past was used in the past itself. This volume of ten original works brings critical insight to this frequently overlooked dimension of earlier societies. Drawing on the concepts of identity, memory, and landscape, the contributors show how these points of entry can lead to substantially new accounts of how people understood their lives and why things changed as they did. Chapters include the archaeologies of the eastern Mediterranean, including Mesopotamia, Iran, Greece, and Rome; prehistoric Greece; Achaemenid and Hellenistic Armenia; Athens in the Roman period; Nubia and Egypt; medieval South India; and northern Maya Quintana Roo. The contributors show how and why, in each society, certain versions of the past were promoted while others were aggressively forgotten for the purpose of promoting innovation, gaining political advantage, or creating a new group identity. Commentaries by leading scholars Lynn Meskell and Jack Davis blend with newer voices to create a unique set of essays that is diverse but interrelated, exceptionally researched, and novel in its perspectives. CONTENTS 1. Peering into the Palimpsest: An Introduction to the Volume Norman Yoffee 2. Collecting, Defacing, Reinscribing (and Otherwise Performing) Memory in the Ancient World Catherine Lyon Crawford 3. Unforgettable Landscapes: Attachments to the Past in Hellenistic Armenia Lori Khatchadourian 4. Mortuary Studies, Memory, and the Mycenaean Polity Seth Button 5. Identity under Construction in Roman Athens Sanjaya Thakur 6. Inscribing the Napatan Landscape: Architecture and Royal Identity Lindsay Ambridge 7. Negotiated Pasts and the Memorialized Present in Ancient India: Chalukyas of Vatapi Hemanth Kadambi 8. Creating, Transforming, Rejecting, and Reinterpreting Ancient Maya Urban Landscapes: Insights from Lagartera and Margarita Laura P. Villamil 9. Back to the Future: From the Past in the Present to the Past in the Past Lynn Meskell 10. Memory Groups and the State: Erasing the Past and Inscribing the Present in the Landscapes of the Mediterranean and Near East Jack L. Davis About the Editor About the Contributors Index

Frames, Erasures, Graffiti --Writing in Relation --Guidestars, Tangles, Hauntologies.

A New York Times Notable Book, winner of the Jerwood Award from the Royal Society of Literature, a New York Times Book Review Editors’ Choice, and named a Book of the Year by the Telegraph, Spectator, Observer, and BBC History Magazine, this bold new history of the rise of Christianity shows how its radical followers helped to annihilate Greek and Roman civilizations. The Darkening Age is the largely unknown story of how a militant religion deliberately attacked and suppressed the teachings of the Classical world, ushering in centuries of unquestioning adherence to "one true faith." Despite the long-held notion that the early Christians were meek and mild, going to their martyrs' deaths singing hymns of love and praise, the truth, as Catherine Nixey reveals, is very different. Far from being meek and mild, they were violent, ruthless, and fundamentally intolerant. Unlike the polytheistic world, in which the addition of one new religion made no fundamental difference to the old ones, this new ideology stated not only that it was the way, the truth, and the light but that, by extension, every single other way was wrong and had to be destroyed. From the first century to the sixth, those who didn't fall into step with its beliefs were pursued in every possible way: social, legal, financial, and physical. Their altars were upturned and their temples demolished, their statues hacked to pieces, and their priests killed. It was an annihilation. Authoritative, vividly written, and utterly compelling, this is a remarkable debut from a brilliant young historian.

Space is both a product and a prerequisite of social relations, it has the potential to block and encourage certain forms of encounter. In Common Space, activist and architect Stavros Stavrides calls for us to conceive of space-as-commons – first, to think beyond the notions of public and private space, and then to understand common space not only as space that is governed by all and remains open to all, but that explicitly expresses, encourages and exemplifies new forms of social relations and of life in common. Through a fascinating, global examination of social housing, self-built urban settlements, street trade and art, occupied space, liberated space and graffiti, Stavrides carefully shows how spaces for commoning are created. Moreover, he explores the connections between processes of spatial transformation and the formation of politicised subjects to reveal the hidden emancipatory potential of contemporary, metropolitan life.

Exploring pivotal questions of their profession, this collection of essays by 13 well-known Australian scholars presents the ethical challenges of researching and writing history. Including contributions from Alan Atkinson, Graeme Davison, Greg Dening, John Hirst, Beverley Kingston, Marilyn Lake, and Iain McCalman, this personally revealing and intellectually provocative introspection discusses such dilemmas as how to handle emotional investments in the subject, control sympathies and biases, and address the responsibilities historians have to both their subject and their audience.

An exploration of a formative chapter in Basquiat's brief career through the lens of his identity and the role of cultural activism in New York City during the early years of the 1980s Jean-Michel Basquiat painted Defacement (The Death of Michael Stewart) in 1983 to commemorate the death of a young, black artist who died from injuries sustained while in police custody after being arrested for allegedly tagging a New York City subway station. Published to accompany a focused exhibition of Basquiat's response to anti-black racism and police brutality, this catalogue explores a chapter in the artist's career through both the lens of his identity and the Lower East Side as a nexus of activism in the early 1980s. With an introduction by Chaédria LaBouvier, Nancy Spector, and Joan Young, and an essay by Johanna F. Almiron are supplemented by commentary from artists, activists, and other cultural figures who were part of this episode in the city's history, which invokes today's urgent conversations about state-sanctioned racism. Ephemera related to Stewart's death, including newspaper clippings and protest posters, and samples of artwork from Stewart's estate are also featured along with paintings and prints made by other artists from Keith Haring, Andy Warhol, David Hammons, in response to Stewart's death.

This book is devoted to the phenomenon of removal of people declared "public enemies" from group photographs in Stalin’s Russia. The book is based on long-term empirical research in Russian archives and includes 57 photographs that are exceptional in terms of historical interest: all these images bear traces of editing in the form of various marks, such as blacking-out, excisions or scratches. The illustrative materials also include a group of photographs with inscriptions left by officers of Stalin’s secret police, the NKVD. To approach this extensive visual material, Denis Skopin draws on a wealth of Stalin-era written sources: memoirs, diaries and official documents. He argues that this kind of political iconoclasm cannot be confused with censorship nor vandalism. The practice in question is more harrowing and morally twisted, for in most cases the photos were defaced by those who were part of victim’s intimate circle: his/her colleagues, friends or even close family members. The book will be of interest to scholars working in history of photography, art history, visual culture, Russian studies and Russian history and politics.

Ralph Waldo Emerson once said that “all history becomes subjective,” that, in fact, “properly there is no history, only biography.” Today, Emerson’s observation is hardly revolutionary for archaeologists; it has become conventional wisdom that the present is a battleground where interpretations of the events and meanings of the past are constantly being disputed. What were the major events? Whose lives did these events impact, and how? Who were the key players? What was their legacy? We know all too well that the answers to these questions can vary considerably depending on what political, social, or personal agenda is driving the response. Despite our keen eye for discerning historical spin doctors operating today, it has been only in recent years that archaeologists have begun exploring in detail how the past was used in the past itself. This volume of ten original works brings critical insight to this frequently overlooked dimension of earlier societies. Drawing on the concepts of identity, memory, and landscape, the contributors show how these points of entry can lead to substantially new accounts of how people understood their lives and why things changed as they did. Chapters include the archaeologies of the eastern Mediterranean, including Mesopotamia, Iran, Greece, and Rome; prehistoric Greece; Achaemenid and Hellenistic Armenia; Athens in the Roman period; Nubia and Egypt; medieval South India; and northern Maya Quintana Roo. The contributors show how and why, in each society, certain versions of the past were promoted while others were aggressively forgotten for the purpose of promoting innovation, gaining political advantage, or creating a new group identity. Commentaries by leading scholars Lynn Meskell and Jack Davis blend with newer voices to create a unique set of essays that is diverse but interrelated, exceptionally researched, and novel in its perspectives. CONTENTS 1. Peering into the Palimpsest: An Introduction to the Volume Norman Yoffee 2. Collecting, Defacing, Reinscribing (and Otherwise Performing) Memory in the Ancient World Catherine Lyon Crawford 3. Unforgettable Landscapes: Attachments to the Past in Hellenistic Armenia Lori Khatchadourian 4. Mortuary Studies, Memory, and the Mycenaean Polity Seth Button 5. Identity under Construction in Roman Athens Sanjaya Thakur 6. Inscribing the Napatan Landscape: Architecture and Royal Identity Lindsay Ambridge 7. Negotiated Pasts and the Memorialized Present in Ancient India: Chalukyas of Vatapi Hemanth Kadambi 8. Creating, Transforming, Rejecting, and Reinterpreting Ancient Maya Urban Landscapes: Insights from Lagartera and Margarita Laura P. Villamil 9. Back to the Future: From the Past in the Present to the Past in the Past Lynn Meskell 10. Memory Groups and the State: Erasing the Past and Inscribing the Present in the Landscapes of the Mediterranean and Near East Jack L. Davis About the Editor About the Contributors Index