Handbook of Rock Art Research

Handbook of Rock Art Research. David S. Whitley. ed. Walnut Creek, CA: Altamira Press, 2001. 864 pp.     

Art in the Making

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Nina De Angeli Walls Art, Industry, and Women's Education in Philadelphia Westport, Conn.: Bergin and Garvey, 2001. 208 pp. $62.50 hardback.     

Art in the Making

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Jan Adkins, Letterbox: The Art and History of Letters, Walker: New York, 1981, 48 pages, $10.95.

Michael Kehoe, The Puzzle of Books, Carolrhoda Books, Minneapolis, 1982, unpaged, $6.95.

Linda Bourke, Handmade Abc: A Manual Alphabet, Addison-Wesley: Reading, Mass., 1981, unpaged, $6.95.

Linda Bourke, Signs of a Friend, Addison-Wesley: Reading, Mass., 1982, unpaged, $2.95 (paper).

Philip Newth, Roly Goes Exploring, Philomel Books: New York, 1981, unpaged, $12.95 (spiral bound).

Tomas Gonzales (text by J. R. Kesselman and F. Peterson), I CAN USE TOOLS, Elsevier/Nelson: New York, 1981, unpaged, $6.25 (boards).

Harvey Weiss, Hammer and Saw, Crowell: New York, 1981, 80 pages, $9.00.

Gail Gibbons, Tool Book, Holiday House: New York, 1982, unpaged, n.p.i.

Harvey Weiss, Model Building: And How to Make Them, Thomas Crowell: New York, 1979, 96 pages, $7.95.

Paul Berman, Make-Believe Empire: A How-to Book, Atheneum: New York, 1982, 88 pages, $8.95.

Evaline Ness, Four Rooms From the Metropolitan Museum of Art, Scribners: New York, 1977, unpaged, $6.95.

Alan Rose, Build Your Own Taj Mahal, Perigee: New York, 1981, unpaged, $7.95.

Les Walker, Housebuilding for Children, The Overlook Press: New York, 1977, 175 pages, $10.00.

Jose Aruego and Ariane Dewey (story by Natalie S. Carlson), Marie Louise and Christopher at The Carnival, Scribners: New York, 1981, unpaged, $11.95

Beverley Gooding (Kenneth Grahame), Wayfarers All from The Wind in the Willows, Scribners: New York, 1981, 32 pages, $11.95.

Shawn Rice (text by Paul Rice and Peter Mayle), AS DEAD AS A DODO, Godine: Boston, 1981, unpaged, $10.95.     

Art in the Making

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There's Pigs and Pigs: Erik Blegvad, The Three Little Pigs, Atheneum: New York, 1980, 32 pages, $8.95.

There's Pigs and Pigs: Joseph Jacobs, The Story of the Three Little Pigs (illust. by Lorinda B. Cauley), Putnam: New York, 1980, unpaged, $8.95.

There's Pigs and Pigs: Margaret Wise Brown (illust. by Ann Strugnell), Once Upon a Time in a Pigpen, Addison-Wesley: Reading, Mass., 1980, 64 pages, $10.95.

There's Pigs and Pigs: Miska Miles (illust. by Leslie Morrill), This Little Pig, Dutton: New York, 1980, unpaged, $6.95.

Picture Books: William Steig, Gorky Rising, Farrar, Strauss &; Giroux: New York, 1980, unpaged, $10.95.

Picture Books: Charles Keeping, Willie's Fire-Engine, Oxford University: New York, 1980, unpaged, $10.95 (boards).

Picture Books: Lydia Pender (illust. by Judith Cowell), The Useless Donkeys, Warne: New York, 1979, unpaged, $9.95.

Picture Books: Lillie D. Chaffin (illust. by Lloyd Bloom), We Be Warm Till Springtime Comes, Macmillan: New York, 1980, unpaged, $9.95.

Picture Books: Kate Canning, A Painted Tale, Barrons: Woodbury, N.Y.: 1979, unpaged, $6.95 (boards).

Historical Explorations: Maurice Boutet de Monvel, Joan of Arc, Viking: New York, 1980, 55 pages, $12.95.

Historical Explorations: Mitsumasa, Anno, Anno's Medieval World, Philomel Books: New York, 1980, 48 pages, $9.99.

Historical Explorations: Peter Spier, People, Doubleday: New York, 1980, unpaged, $10.00.

Historical Explorations: John S. Goodall, An Edwardian Season, Atheneum: New York, 1980, unpaged, $7.95.

Historical Explorations: Miriam Schlein (illust. by Erik Hilgert), I, Tut, Four Winds Press: New York, 1979, unpaged, $7.95.     

The Rock Art Of Western Montana

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Western Montana rock art comprises 29 pictograph sites scattered throughout the mountainousPacific-drained portion of the state. The sites, composed of panels of simple red, yellow or black pictographs, cluster along the major streams in the region. A variety of zoomorphic, anthropomorphic and geometric designs predominate. Traditionally Western Montana rock art has beenassumed to be related to the rock art of the Northwestern Plains, however, this study demonstrates that functionally and stylistically its closest relationships are with Columbia Plateau rock art. Two style zones, each reflecting a different cultural influence, are recognized in theregion. The majority of sites apparently served as vision quest sites for Salishan tribes that inhabited the area during the Late Prehistoric Period. A few sites in the extreme southern portion of the region are attributed to Shoshoneans, and relate most closely to the pictographsof central and southern Idaho.     

Three-Dimensional Puzzles: Southern African and Upper Palaeolithic Rock Art

The history of anthropology is a growing field of study within the discipline itself. Our series 'Key Informants on the History of Anthropology' contributes to the discussion of how anthropology, as it is understood and practised today, evolved and took shape. In the following invited contribution, David Lewis-Williams reflects on the major reinterpretation of southern African rock art and Upper Palaeolithic art that took place in the 1970s and 1980s. An earlier interpretation of the rock art as representing hunters' impressions of their prey was replaced by sophisticated interpretations of the cosmology of the first inhabitants of South Africa. Lewis-Williams's work was crucial in bringing about this shift. David Lewis-Williams is Professor Emeritus of Archaeology and founder of the Rock Art Research Institute of the University of the Witwatersrand, South Africa, which promotes studies of the more than 15,000 sites within the country.     

The Neural Basis of Mark Making: A Functional MRI Study of Drawing

Compared to most other forms of visually-guided motor activity, drawing is unique in that it “leaves a trail behind” in the form of the emanating image. We took advantage of an MRI-compatible drawing tablet in order to examine both the motor production and perceptual emanation of images. Subjects participated in a series of mark making tasks in which they were cued to draw geometric patterns on the tablet''s surface. The critical comparison was between when visual feedback was displayed (image generation) versus when it was not (no image generation). This contrast revealed an occipito-parietal stream involved in motion-based perception of the emerging image, including areas V5/MT+, LO, V3A, and the posterior part of the intraparietal sulcus. Interestingly, when subjects passively viewed animations of visual patterns emerging on the projected surface, all of the sensorimotor network involved in drawing was strongly activated, with the exception of the primary motor cortex. These results argue that the origin of the human capacity to draw and write involves not only motor skills for tool use but also motor-sensory links between drawing movements and the visual images that emanate from them in real time.     

Painting Culture: The Making of an Aboriginal High Art

Painting Culture: The Making of an Aboriginal High Art. Fred R. Myers. Durham, NC: Duke University Press, 2002. 410 pp.