Rock art can be useful as a factor in reclaiming Indigenous identities. One example of this phenomenon is work by contemporary artists who explore and integrate rock art in their creations. The author considers how and why a selection of artists in Siberia/Central Asia and Canada use these ancient images.

Rock art of the Middle and Upper Orinoco River in South America is characterised by some of the largest and most enigmatic engravings in the world, including snakes exceeding 40m in length. Here, the authors map the geographic distribution of giant snake motifs and assess the visibility of this serpentine imagery within the Orinoco landscape and Indigenous myths. Occupying prominent outcrops that were visible from great distances, the authors argue that the rock art provided physical reference points for cosmogonic myths, acting as border agents that structured the environment and were central to Indigenous placemaking along the rivers of lowland South America.

This article presents details of the recent discovery of Palaeolithic cave art in Cova Dones, Valencia. The preliminary results reveal a rich graphic assemblage with features that are unusual for Mediterranean Upper Palaeolithic art and were previously unknown for the Pleistocene in the eastern Iberian coast.

Cantabrian cave art is familiar from photographs reproduced in textbooks, but these two-dimensional images do not capture the irregularities of the rock surfaces on which animals and other designs were painted or engraved. Here, the authors use stereoscopic photography to review the parietal art of La Pasiega cave. By documenting the uneven surfaces of the cave's walls alongside painted and engraved marks, they identify new animal figures and reinterpret others, previously thought to be partial representations, as complete. The results show the positioning of animal figures to make use of concave/convex surfaces and rock edges to define the outlines of animals, reinforcing the need to record and interpret cave art three-dimensionally.

Detailed photogrammetry and 3D laser scanning of rock art, geophysics research and sondage excavations conducted at the Painted Hand Petroglyph Panel, a large rock art site in south-western Colorado, USA, has revealed new information about the cultural situation in the pre-Columbian and historic North American Southwest.

Among the rock art in Arabia, a little-known Neolithic tradition of large, naturalistic camel depictions stands out. Their geographic distribution and stylistic traits suggest close links with the Camel Site reliefs. Four newly documented panels appear to have been carved by the same individual (or group), tracing repeated movements over hundreds of kilometres.

Since 1979, when the first cave art was documented in North America, dozens of other examples have come to light. Among these, 19th Unnamed Cave in Alabama contains hundreds of pre-contact Native American mud glyph drawings. In 2017, 3D modelling of the glyphs was initiated, ultimately enabling digital manipulation of the chamber space and revealing images that could not be perceived prior to modelling. Most surprisingly, the cave's ceiling features very large anthropomorphic glyphs that are not apparent in situ due to the tight confines of the cave. We argue that photogrammetry offers untapped potential for not simply the documentation but also the discovery of a variety of archaeological phenomena.

The Romanelli Cave in south-east Italy is an important reference point for the so-called ‘Mediterranean province’ of European Upper Palaeolithic art. Yet, the site has only recently been subject to a systematic investigation of its parietal and portable art. Starting in 2016, a project has recorded the cave's interior, discovering new parietal art. Here, the authors report on a selection of panels, featuring animal figures, geometric motifs and other marks, identifying the use of different types of tools and techniques, along with several activity phases. These panels are discussed with reference to radiocarbon dating of nearby deposits, posing questions about chronology, technology and wider connections between Upper Palaeolithic cave sites across western Eurasia.

The introduction of new animals into hunter-gatherer societies produces a variety of cultural responses. This article explores the role of rock art in western Arnhem Land, Australia, in helping to mediate contact-period changes in Indigenous society in the nineteenth century. The authors explore etic and emic perspectives on the ‘re-emergence’ of water buffalo into Aboriginal cultural life. Merging archaeological analysis, rock art and ethnographic accounts, the article demonstrates how such artworks were used as a tool for maintaining order in times of dramatic social change. The results of this research have significant implications for understanding how cultural groups and individuals worldwide used rock art during periods of upheaval.

Motifs featuring trios of figures have been discovered at a newly documented rock art site in the Swaga Swaga Game Reserve in Tanzania. These images find parallels in paintings from rockshelters at the nearby Kolo site, and raise the possibility that they represent anthropomorphic figures with stylised buffalo heads.

Globally, rock art is one of the most widely distributed manifestations of past human activity. Previous research, however, has tended to focus on the art rather than artists. Understanding which members of society participated in creating such art is crucial to interpreting its social implications and that of the sites at which it is found. This article presents the first application of a method—palaeodermatoglyphics—for the estimation of the sex and age of two later prehistoric individuals who left their fingerprints at the Los Machos rockshelter in southern Iberia. The method has the potential to illuminate the complex socio-cultural dimensions of rock art sites worldwide.

Recent survey in the Gulf of Carpentaria region of northern Australia has identified a unique assemblage of miniature and small-scale stencilled motifs depicting anthropomorphs, material culture, macropod tracks and linear designs. The unusual sizes and shapes of these motifs raise questions about the types of material used for the stencil templates. Drawing on ethnographic data and experimental archaeology, the authors argue that the motifs were created with a previously undocumented stencilling technique using miniature models sculpted from beeswax. The results suggest that beeswax and other malleable and adhesive resins may have played a more significant role in creating stencilled motifs than previously thought.

While hunting scenes are well attested in Indian rock art, only two depictions of butchering are known from sites in India, and are very rare globally. Here, the authors present the discovery of a rare depiction of deer butchering, found at Maser in the Raisen District of Madhya Pradesh, India.

Detailed documentation of thousands of petroglyphs and recent excavations conducted at the site of Toro Muerto in Peru reveal new information about the symbolic spatial organisation and ritual functions of the largest pre-Columbian rock art complex.

Inside Manitou Cave in modern Alabama, nineteenth-century Cherokees carried out sacred ceremonies, recording their activities on the walls using Cherokee syllabary, a system invented in nearby Willstown by Cherokee scholar Sequoyah. Through collaboration between modern Cherokee scholars and Euro-American archaeologists, the authors report and interpret—for the first time—the inscriptions in Manitou Cave. These reveal evidence for secluded ceremonial activities at a time of crisis for the Cherokee. Pressures from the surrounding white populations disrupted the Cherokee ancient lifeways, culminating in their forcible relocation in the 1830s along the Trail of Tears.

The Grotte Chauvet is world renowned for the quality and diversity of its Palaeolithic art. Fire was particularly important to the occupants, providing light and producing charcoal for use in motifs. Charcoal samples were taken systematically from features associated with the two main occupation phases (Aurignacian and Gravettian). Analysis showed it to be composed almost entirely of pine (Pinus sp.), indicating the harsh climatic conditions at this period. No distinction in wood species was found between either the two occupation episodes or the various depositional contexts. The results throw new light on the cultural and palaeoenvironmental factors that influenced choices underlying the collection of wood for charcoal production.

The relative scarcity of ancient Arabian rock reliefs has been a significant barrier to understanding the development, function and socio-cultural context of such art. The recently discovered ‘Camel Site’ in northern Arabia depicts, for the first time, life-sized camelids and equids carved in low- and high-relief. Analysis and stylistic comparison of the art suggest a distinct Arabian tradition, which perhaps drew upon Nabataean and Parthian influences. That this isolated and seemingly uninhabitable site attracted highly skilled rock-carvers is striking testimony to its importance for surrounding populations. Perhaps serving as a boundary marker or a place of veneration, the Camel Site offers important new evidence for the evolution of Arabian rock art.

El Médano-style rock art from the Atacama Desert coast in Chile provides one of the most spectacular and expressive representations of ancient marine hunting and maritime traditions. These red pictographs comprise hundreds of hunting scenes and portray a complex marine hunter-gatherer society. This study presents the discovery of El Médano pictographs from new sites—in particular the Izcuña ravine—and seeks to understand further the processes of marine hunting and the interspecies relationships between hunter and prey. When combined with archaeological evidence, this analysis provides important new information concerning the value and significance of this rock art to those ancient hunter-gatherers.