Gustav Metzger: iconoclasm and interdisciplinarity

ABSTRACT

Gustav Metzger (1926–2017) has been described as ‘the conscience of the art world’ for the consistently political content of his art and his commitment to political activism on the subject of nuclear weapons, capitalism and environmentalism. Metzger’s artistic output from the late 1950s onwards reflects a theory of art as both aesthetic form and social action and identifies him as a key precursor of activist art. This article considers the inherent interdisciplinarity of Metzger’s practice as it evolved during this early period between the late 1950s and early 1970s in relation to his agenda of social engagement.     

The Imperial Visual Archive: Images,Evidence, and Knowledge in the Early Modern Hispanic World

This article examines the role of images as evidence and sources of knowledge in the early modern Hispanic world, arguing for the continued importance of visual epistemology as a technique for producing and circulating knowledge from the sixteenth through the eighteenth centuries. Visual materials played a central role in the production of knowledge, scientific and imperial, and served as key instruments for addressing the considerable challenges of distance and place posed by the geographical expanse of the empire. Historiographically, the article highlights the active generation of scientific knowledge in the Hispanic world and connects it to imperial and administrative practices; it highlights trans-regional channels of circulation, demonstrating the connected histories of the viceroyalties and peninsula and the multidirectional trajectories in which information and knowledge moved; and it points out deep connections between earlier and later colonial periods. Methodologically, the essay explores the potential of images as historical sources, suggesting that the high status of images in the early modern Hispanic world led to the creation of an enormous pictorial archive that deserves the same level of scholarly attention and rigor that has been lavished on the textual archive.     

Keeping it real? Subcultural graffiti,street art,heritage and authenticity

This article considers the implications of framing subcultural graffiti and street art as heritage. Attention is paid to subcultural graffiti’s relationship to street art and the incompatibility of its traditions of illegality, illegibility, anti-commercialism and transience with the formalised structures of heritage frameworks. It is argued that the continued integration of street art and subcultural graffiti into formal heritage frameworks will undermine their authenticity and mean that traditional definitions of heritage, vandalism and the historic environment will all need to be revisited. The article contributes to the current re-theorisation of heritage’s relationship with erasure by proposing that subcultural graffiti should be perceived as an example of ‘alternative heritage’ whose authenticity might only be assured by avoiding the application of official heritage frameworks and tolerating loss in the historic environment.     

The Theory of Enchantment and the Enchantment of Theory: the Art of Alfred Gell

ABSTRACT Gell's Art and Agency that aimed to articulate the first anthropological theory of art has achieved a near‐cult status among the academic community. Departing from previous semiological and aesthetic approaches, this theory takes it that art is a form of instrumental action, the canonical efficacy of which lies in its power to function as a cognitive trap and to captivate the spectator's mind. In this article it is argued that Gell's theory is not as novel as it is claimed; that it fails to define the specific field of art; and that by excluding the aesthetic properties of art objects, it discards ethnographical data nonetheless necessary for understanding the agency of art in Melanesian local cultures. At a meta‐level, Gell assigned to his theory the same captivating purpose as he did to art, and this probably explains the seductive fascination that his work continues to exert.     

Bighorn hunting,resource depression,and rock art in the Coso Range,eastern California: a computer simulation model

The extraordinary record of prehistoric rock art depicting tens of thousands of animal images in the Coso Range of eastern California provides an opportunity to study the relationship between aboriginal hunting, forager ecology, bighorn prey population levels, and the production of rock art. We review archaeofaunal evidence that the Coso desert bighorn sheep population was strongly depleted during the Newberry era after 1500 B.C. We discuss the dating of the rock art and show a correlation between bighorn depletion and increased rock art production. These data are consistent with the arrival of Numic foragers ca. A.D. 600 who competed with the Coso Pre-Numics and eventually terminated the Coso rock art tradition. An ecological predator-prey computer simulation of the human populations (Numic and Pre-Numics), the sheep population, and the rock art “population”, demonstrates these proposed interconnections and gives a reasonable fit to the observed rock art production rate.     

Palaeolithic engravings and sedimentary environments in the Côa River Valley (Portugal): implications for the detection,interpretation and dating of open-air rock art

The pre-Magdalenian phase of the Côa River Valley open-air rock art is mostly distributed at the boundary between the rocky valley slopes and the floodplain that correspond to the most favourable geomorphological setting for the preservation of pecked and deeply superposed engravings of the most famous artistic phase of the area. The natural vertical panels of the engraved art located at this geomorphological interface have suffered weathering during two cold events of the Lateglacial. They were buried by several colluvial and alluvial deposits. The reconstruction of the sedimentary and archaeological context of the CôaRiver Valley engraving permits a better assessment of the preservation processes and interpretation of Palaeolithic open-air rock art.     

Rock Art and Ritual: An Archaeological Analysis of Rock Art in Arid Central Australia

Rock art researchers throughout the world have explicitly or implicitly invoked ritual as an activity associated with the production of rock art but the articulation between the structure and composition of rock art assemblages and ritual behaviour remains poorly understood. Anthropologist, Roy Rappaport (1999) argued that all ritual, whatever the content or focus, has a universal structure. We review this proposition in the context of ritual studies and propose a method aimed at assessing the potential for identifying ritual structure in rock art assemblages. We discuss an archaeological analysis undertaken on the rock art assemblages in arid Central Australia, which aimed at distinguishing such a ritual structure among engraved assemblages, likely to have a Pleistocene origin, as well as more recent painted, stencilled and drawn assemblages. This analysis, despite its limitations, provides the foundation for developing a model, which will enhance the understanding of the relationship between the production of rock art and ritual.     

The Upper Paleolithic in Mediterranean Spain: A Review of Current Evidence

In spite of an active and sophisticated archaeological research program, the Paleolithic of the Iberian peninsula remains comparatively little known to English-speaking prehistorians, with the exception of Cantabrian Spain. The rich data set compiled by Spanish prehistorians and their colleagues over the past several decades stands to make a valuable and unique contribution to our understanding of the Pleistocene prehistory of Europe. We present a detailed overview of Upper Paleolithic chronology, sites, and assemblages for Mediterranean Spain, an area of over 1,600,000 km ² that extends from the French border to the Straits of Gibraltar. To interpret these data, we employ a regional perspective that emphasizes studies of paleoeconomy (especially zooarchaeology) and settlement. The Middle–Upper Paleolithic transition and Upper Paleolithic art also receive detailed treatment, and the Upper Paleolithic of Mediterranean Spain is discussed in the broader context of the late Upper Pleistocene of western Europe and the Mediterranean Basin.     

魂系敦煌──新版“九十春秋敦煌五十年”选载(三)

新中国成立后 ,常书鸿先生随中国文化代表团前往印度、缅甸访问 ,尔后考察了麦积山、炳灵寺和新疆石窟。在社会主义新政策指引和中央的关怀重视下 ,敦煌莫高窟得到了全面维修加固 ,研究所的人力、物力、财力也得到了加强。常书鸿先生满怀对敦煌艺术的热爱 ,带领全所人员展开了大规模的临摹和研究工作 ,取得了一系列成就 ,为敦煌艺术的保护和弘扬做出了重要贡献。