exhibition: A Settlement in colonial New Mexico was in effect
a transplantation, a new version of the order that had prevailed in colonial
Mexico and Spain. It
was not the work of footloose individuals in search of adventures or wealth,
but of small, homogeneous groups of simple people who brought with them
their religion, their family ties, their ways of building and working and
Sense of Place, A Sense of Time. New Haven, CT., 1994.
Raphael, Prehistoric Cave Paintings. New York, 1945.
environment:"(M.) Lorblanchet's recent bid to re-create
one of the most important Ice Age images in Europe was an affair
of the heart as much as the head. 'I tried to abandon my skin of
a modern citizen, tried to experience the feeling of the artist,
to enter the dialogue between the rock and the man,' he explains.
Every day for a week in the fall of 1990 he drove the 20 miles from
his home in the medieval village of Cajare into the hills above the
river Lot. There, in a small, practically inaccessible cave, he transformed
himself into an Upper Paleolithic painter. And not just any Upper
Paleolithic painter, but the one who 18,400 years ago crafted the
dotted horses inside the famous cave of Pech Merle. Using the spitting
techniques he had learned from Australian aboriginal rock artists,
Lorblanchet said, 'My intention had been to use manganese dioxide,
as the Pech Merle painter did...but I was advised that manganese
is somewhat toxic, so I used wood charcoal instead.'" R. Lewin, "Paleolithic
Paint Job." Discover, July. 1993.
this property: L.
Watson,The Nature of Things. Rochester,VT.,1992.
Helen & Alfred reached Prospect Park,
each other knowing failure;
did then bench their names,
not watching for problems.
(J. Weishaus. From, "Seven New York Poems.")
pottery: Classic Mimbres pottery, black-on-white bowls, ca.
A.D. 1000-1130, "often found over the faces of the deceased, exhibit
on their interiors painted images of humans, animals, composite beings,
and inanimate objects in apparent narrative interaction." M. Thompson, "The
Evolution and Dissemination of Mimbres Iconography." In, P.
Schaafsma, editor, Kachinas in the Pueblo World. Albuquerque, NM.,
The oldest: M. Simons, "Stone
Age Art Shows Penguins At Mediterranean." The New York Times. 20
October 1992. Leroi-Gourhan proposes that fingers were folded back to
appear as if missing, a "deliberate arrangement, that suggests there
was a manual code exhibited like that which is still used for the hunt
by the Bushmen." A. Leroy-Gorin, "The Hands of Argas: Toward
a General Study." October 37 (1986)
"It is reported that the walls of every native-built
house in Jerusalem are decorated by prints of the hand, in order to avert the
evil eye. A similar custom is practiced by the Moors generally, and especially
the Arabs of Kairwan, who apply red hand prints to the lintels and supports of
buildings as talismans to drive away evil. There is a record, from Tunis, of
a Jewish practice of placing the imprint of a bleeding hand upon the walls of
each floor of a building. Among the Garos, of Assam, white hand marks form a
part of the rice-harvest ceremony. Hand prints are found on the Kei Islands.
Similar negative prints of hands are reported from Melville Island as well as
pipe-clay drawings on bark (eucalyptus) within native huts." V.J. Smith,
The Human Hand in Primitive Art. Austin, TX., 1925.
kind of code: "Other features of the iconography have pretty
clear developmental significance for the emergence of writing. Many
depictively opaque icons that did not contribute pictorially to scenes
were evidently used to encode particular concepts or associations.
These icons appear in all media and styles of presentation. The existence
of conceptually-specific graphic units with no direct depictive interpretation
may have stimulated or supported other developments that are virtually
restricted to ceremonial celts, all involving the depiction of parts
or accouterments of a human figure without depicting the figure itself." J.S.
Justeson, and P. Mathews, "Evolutionary Trends in Mesoamerican
Hieroglyphic Writing." Visible Language, Winter. 1990.