Description
Book SynopsisVisual Culture, Heritage and Identity: Using Rock Art to Reconnect Past and Present sets out a fresh perspective on rock art by considering how ancient images function in the present. In recent decades, archaeological approaches to rock paintings and engravings have significantly advanced our understanding of rock art in regional and global terms. On the other hand, however, little research has been done on contemporary uses of rock art. How does ancient rock art heritage influence contemporary cultural phenomena? And how do past images function in the present, especially in contemporary art and other media? In the past, archaeologists usually concentrated more on reconstructing the semantic and social contexts of the ancient images. This volume, on the other hand, focuses on how this ancient heritage is recognised and reified in the modern world, and how this art stimulates contemporary processes of cultural identity-making. The authors, who are based all over the world, off er attractive and compelling case studies situated in diverse cultural and geographical contexts.
Trade Review'This is a fascinating book that breathes new life into a subject dominated so long by traditional exegetic interpretations of prehistoric rock art which have achieved little collective consensus, although it is fair to say they have advanced our understanding. It is illustrated with beautiful and vibrant images throughout, and its anthropological/ethnoarchaeological approach is highly commended.'—Mark Merrony (2021): ANTIQVVS, Volume 3, Issue 4
'The editors are to be congratulated on promoting a relatively new concept in rock art research, namely bridging the philosophical gap between ancient and modern art forms, using anthropology and ethnography to legitimise the past and the way it interacts with the present. The publishers, Archaeopress, should also receive praise for producing such a handsome and colourful publication that truly reflects the beauty and rhetoric of modern (rock) art-making.' – George Nash (2022): Current World Archaeology #111
Table of ContentsA Brief Note about the Editors ;
Using Rock Art to Reconnect Past and Present: An Introduction –
Andrzej Rozwadowski and Jamie Hampson ;
Indigenous Art in New Contexts: Inspiration or Appropriation? –
Jamie Hampson and Rory Weaver ;
The Cave of Altamira and Modern Artistic Creation –
Pilar Fatás Monforte ;
Joane Cardinal–Schubert: Ancient Contemporary –
Alisdair MacRae ;
Face to Face with Ancestors: Indigenous Codes in the Contemporary Art of Siberia –
Andrzej Rozwadowski and Magdalena Boniec ;
Contemporary Views on Rock Art from Within the Frame: Indigenous Cultural Continuity and Artistic Engagement with Rock Art –
Marisa Giorgi and Dale Harding ;
PalimpsGestures: Rock Art and the Recreation of Body Expression –
Lina do Carmo ;
In the Name of the Ancestors: Repainted Identities and Land Memories –
Laura Teresa Tenti ;
Muraycoko Wuyta’a Be Surabudodot / Ibararakat: Rock Art and Territorialization in Contemporary Indigenous Amazonia – the Case of the Munduruku People from the Tapajos River –
Jairo Saw Munduruku, Eliano Kirixi Munduruku and Raoni Valle ;
Appropriation, Re-Appropriation, Reclamation: The Re-Use of New Zealand’s Most Renowned Māori Rock Art –
Gerard O’Regan [Open Access: Download];
Reproduction, Simulation and the Hyperreal: A Case Study of ‘Lascaux III’ 2015–2017 –
Robert J. Wallis
