A Painted Ridge is a book about the San (Bushmen) practice of rock painting. In it, David Witelson explores a suite of spatially close San rock painting sites in the Maclear District of South Africa’s Eastern Cape Province. As a suite, the sites are remarkable because, despite their proximity to each other, they share patterns of similarity and simultaneous difference. They are a microcosm that reflects, in a broad sense, a trend found at other painted sites in South Africa. Rather than attempting to explain these patterns chiefly in terms of chronological breaks or cultural discontinuities, this book seeks to understand patterns of similarity and difference primarily in terms of the performative nature of San image-making. In doing so, the bygone and almost unrecorded practice of San rock art is considered relative to ethnographically well-documented and observed forms of San expressive culture. The approach in the book draws on concepts and terminology from the discipline of performance studies to characterise the San practice of image-making as well as to coordinate otherwise disparate ideas about that practice. It is a study that aims to explicate the nuances of what David Lewis-Williams called the ‘production and consumption’ of San rock art.

One of the first things that strike the Western viewer of Indian art is the multiplicity of heads, arms and eyes. This convention grows out of imagery conceived by Vedic sages to explain creation. This book for the first time investigates into the meaning of this convention. The author concentrates on its origins in Hindu art and on preceding textual references to the phenomenon of multiplicity. The first part establishes a general definition for the convention. Examination of all Brahmanical literature up to, and sometimes beyond, the 1st - 3rd century A.D., adds more information to this basic definition. The second part applies this literary information mainly to icons of the Yaksa, Siva, Vasudeva-Kr sn a and the Goddess, and indicates how Brahmanical cultural norms, exemplified in Mathura, can transmit textual symbols. Both Part I and Part II provide iconic modules and a methodology to generate interpretations for icons with this remarkable feature through the Gupta age.

Known for her expansive multidisciplinary approach to art making Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender and the body, as well as broader social and political issues through a practice which encompasses photography, film, video and performance. Rooted in contemporary art strategies, her practice critiques the representations of Indigenous people that circulate in art, literature and popular culture in general. In doing so, Claxton regularly combines Lakota traditions with “Western� influences, using a powerful and emotive “mix, meld and mash� approach to address the oppressive legacies of colonialism and to articulate Indigenous world views, histories and spirituality. This timely catalogue will be the first monograph to examine the full breadth and scope of Claxton’s practice. It will be extensively illustrated and will include essays by Claxton’s colleague Jaleh Mansoor, Associate Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia; Monika Kin Gagnon, Professor in the Communications Department at Concordia University, who has followed Claxton’s work for 25 years; Olivia Michiko Gagnon, a New York–based scholar and doctoral student in Performance Studies; and Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery.

The rock art of the Americas was produced at very different times and by different cultures, both by hunter-gatherers, fishermen and by farmers from village or state societies. Each group can be characterised by diverse styles and techniques. The function of rock art depended on religious, political or social concerns that referred to a particular context and time. Peintures et gravures rupestres des Amériques: Empreintes culturelles et territoriales presents the proceedings from Session XXV-3 of the XVIII UISPP World Congress (4-9 June 2018, Paris, France). Papers address the following questions: How does the study of rock art make it possible to culturally characterize its authors? What does it tell us about the function of sites? How and under what circumstances does it make it possible to delimit a cultural territory? The six articles in this volume provide case studies from Mexico, El Salvador, Costa Rica, French Guiana and Chile.

Since the late 1980s the dominant theory of human origins has been that a 'cognitive revolution' (C.50,000 years ago) led to the advent of our species, Homo sapiens. As a result of this revolution our species spread and eventually replaced all existing archaic Homo species, ultimately leading to the superiority of modern humans. Or so we thought. As Clive Finlayson explains, the latest advances in genetics prove that there was significant interbreeding between Modern Humans and the Neanderthals. All non-Africans today carry some Neanderthal genes. We have also discovered aspects of Neanderthal behaviour that indicate that they were not cognitively inferior to modern humans, as we once thought, and in fact had their own rituals and art. Finlayson, who is at the forefront of this research, recounts the discoveries of his team, providing evidence that Neanderthals caught birds of prey, and used their feathers for symbolic purposes. There is also evidence that Neanderthals practised other forms of art, as the recently discovered engravings in Gorham's Cave Gibraltar indicate. Linking all the recent evidence, The Smart Neanderthal casts a new light on the Neanderthals and the 'Cognitive Revolution'. Finlayson argues that there was no revolution and, instead, modern behaviour arose gradually and independently among different populations of Modern Humans and Neanderthals. Some practices were even adopted by Modern Humans from the Neanderthals. Finlayson overturns classic narratives of human origins, and raises important questions about who we really are.

This volume tracing the history of Native American art examines such topics as Native American culture, art and tradition, and how these have changed in modern times.

Mesoamerican Manuscripts: New Scientific Approaches and Interpretations brings together a wide range of modern approaches to the study of pre-colonial and early colonial Mesoamerican manuscripts. This includes innovative studies of materiality through the application of non-invasive spectroscopy and imaging techniques, as well as new insights into the meaning of these manuscripts and related visual art, stemming from a post-colonial indigenous perspective. This cross- and interdisciplinary work shows on the one hand the value of collaboration of specialists in different field, but also the multiple viewpoints that are possible when these types of complex cultural expressions are approached from varied cultural and scientific backgrounds. Contributors are: Omar Aguilar Sanchez, Paul van den Akker, Maria Isabel Alvarez Icaza Longoria, Frances F. Berdan, David Buti, Laura Cartechini, Davide Domenici, Laura Filloy Nadal, Alessia Frassani, Francesca Gabrieli, Maarten E.R.G.N. Jansen, Rosemary A. Joyce, Jorge Gomez Tejada, Chiara Grazia, David Howell, Virginia M. Llado-Buisan, Leonardo Lopez Lujan, Raul Macuil Martinez, Manuel May Castillo, Costanza Miliani, Maria Olvido Moreno Guzman, Gabina Aurora Perez Jimenez, Araceli Rojas, Aldo Romani, Francesca Rosi, Antonio Sgamellotti, Ludo Snijders, and Tim Zaman. See inside the book.