The Rock Art of Nevada, America


Page 6/8
Other Archaeological Features
Baumhoff et al. (1958) reported a small occupation site associated with Lagomarsino's rock art and a game drive wall. The putative game drive wall is more likely a historic feature based on its extent and substantial character; qualities that do not match historically or archaeologically observed hunting features. Other archaeology reported from the site includes a Stemmed Point that was collected in the late 1980s. The archaeological features that Nevada Rock Art Foundation observed during its recordation of the site's rock art are concentrated in Section 8A and include milling features and two projectile point fragments. It is likely that the site was seasonally occupied for a variety of economic purposes, including seed and plant processing, suggesting the site's rock art was viewed and used by a broader cross-section of the social group than just hunters or ritual specialists. This indicates the site's rock art may have been incorporated in social and ceremonial practices of community-wide significance.
Evaluating Rock Art At Lagomarsino
The archaeological value of places such as Lagomarsino is rooted in rock art being among the oldest and most enduring forms of the ideological presentation of identity and cultural practice, providing information on diachronic variation in past social processes, symbolic behavior, landscape use, and the role of graphic systems of signification in cultural systems (Quinlan and Woody 2009). Its cultural significance potentially extends beyond its original makers, as rock art sites are monuments that were re-used and incorporated in the traditions of subsequent cultures, illustrating the importance of place in the social construction of individual and cultural identities (Bradley 2000; Quinlan and Woody 2003, 2009). Sites able to provide data that address these research themes in archaeology and anthropology are of exceptional signifi cance for understanding developments in human social behavior, particularly the role of monuments in shaping the experience of social and economic routines, and the development of symbolic culture.
Further, the implicit long duration of site-use presented by Lagomarsino's quantity of rock art and the age of its associated archaeology attests to its power as a special place that repeatedly drew prehistoric peoples to it and its continuing cultural significance to Native American peoples.
The Lagomarsino Canyon Petroglyph Site Documentation Project has resulted in one of the most exhaustive records of a large rock art site produced in Nevada. Over 2200 rock art panels were documented through field drawings, photography, geospatial data capture, and field observations, as well as all observed graffiti and other vandalism. These data provide the basis for future culture resource management at the site and programs of public interpretation. The project's findings justify Lagomarsino's reputation as one of the most significant archaeological sites of its type in the Great Basin. Its scale and quality are impressive, and the site conveys a strong sense of place and prehistoric social routines. Lagomarsino derives a broader significance from its role in the development of the archaeological study of Great Basin rock art sites, having shaped explanatory approaches to rock art's prehistoric sociocultural contexts of use and in stylistic analyses of prehistoric art. The site retains considerable research potential and will continue to shape the way archaeologists conceptualize the role of visual symbolism in prehistoric societies.
This project was planned and developed by Dr. Alanah Woody, who led fi eldwork and data management until her death in July 2007. Without her vision and commitment to the long-term protection of Lagomarsino and all Nevada rock art, this project would not have been possible. This project was funded in part by grants provided by the National Endowment for the Arts and us Forest Service; the National Park Service administered through the Nevada shpo; and Patagonia. Other financial support was provided by the generous donations of panel program sponsors: Sharon P. Chase, Catherine S. Fowler, Don D. Fowler, Douglas Fowler, Don Frazier, John Gianotti, Charles Greene, Thomas and Peggy Hall, Sam and Kathleen Hayes, Bill Jackson and Joanne Jackson, Dittany Lang, Petit Gilwee, Elizabeth Sweeney, Keegan Turner, Tavis Turner, and David and Patricia Vaughn. Additional support was provided by Dan Smercina and Western Village Inn-Casino. Our photography needs are serviced through the generous support of Ed Laine Photography and Jim and Laura Ouimet. We thank our partners for their support and technical assistance: Storey County, the Nevada State Museum, usda, Natural Resources Conservation Service, and the Nevada Department of Transportation (Geodesy and Location Divisions). Cheryln Bennett, Ralph Bennett, Joan Johnson, and Dianne Jennings provided invaluable support with the management of this project. Lastly, we thank all the volunteers who contributed to this project-their efforts are greatly appreciated.
References Cited
Baumhoff , Martin A., Robert F. Heizer and Albert B. Elsasser
1958 The Lagomarsino Petroglyph Group (Site 26-St-1) near Virginia City, Nevada. Reports of the University of California Archaeological Survey, No. 43, Berkeley.
Bradley, Richard
2000 An Archaeology of Natural Places. Routledge, London.
Dean, Claire J.
2003 Site 26-ST-1, Storey County, Nevada: Conservation Treatment Record, October 2003. Portland Dean & Associates Conservation Services, Oregon. Report submitted to the Nevada Rock Art Foundation, Reno.
Heizer, Robert F. and Martin A. Baumhoff
1962 Prehistoric Rock Art of Nevada and Eastern California. University of California Press, Berkeley.
Quinlan, Angus R. and Alanah Woody
2001 Marking Time At Lagomarsino: The Competing Perspectives Of Rock Art Studies. In American Indian Rock Art, Volume 27, edited by Steven M. Freers and Alanah Woody, pp. 211-220. American Rock Art Research Association, Tucson, Arizona.
2003 Marks of Distinction: Rock Art and Ethnic Identification in the Great Basin. American Antiquity 68(2):372-390.
2009 Rock Art in Archaeological Th ought. In Nevada Rock Art by Peter Goin, in press. Black Rock Institute Press, Reno.
Steward, Julian H.
1929 Petroglyphs of California and Adjoining States. Publications in American Archaeology and Ethnology, Vol. 24, No. 2, pp. 47-238. University of California, Berkeley.
Like us on Facebook & Follow us on Twitter to receive news & updates:
American Rock Art Archive
Bradshaw Foundation
bradshaw foundation donate help
Mailing List

Email Sign-Up
website updates


First Name

Last Name


bradshaw foundation podcast
bradshaw foundation ishop dvd
Homepage About the Foundation Contact Us Facebook News Articles Twitter List of Research Papers Professor Stephen Oppenheimer Bibliographic Database Travel Index About the Expeditions Forthcoming Expeditions Bespoke Expeditions Enquire Practical Information History of Exploration Welcome to the iShop Film Downloads DVD's Sculpture Prints Clothing Messenger Bag eBooks INORA Downloads About iLecture Films Shipping & Handling iLectures In Conversation Video Stories Travel Films Read the reviews Privacy Policy Bradshaw Foundation Facebook Friends of the Foundation Archive Index World's Oldest Rock Art Africa Documentary Films South Africa RARI Giraffe Carvings Niger Namibia Western Central Africa Africa Paintings Gallery Tanzania The Tuareg People Tuareg Salt Caravans Gilf Kebir Birnin Kudu Rock Art Center Archive Index San Rock Art Paintings San Bushman San Rock Art Film Origins Centre Johannesburg Archive Index Arizona Baja California Baja California Film Coso Range Talking Stone Film Nevada Oregon Territory Moab, Utah Clovis First Australia Archive Index Introduction Bradshaw Paintings Kimberley Region The Unambal Hugh Brown Leif Thiele Gallery Dan Clark Grahame Walsh Bradshaws / Gwion Gwion Archive Index Introduction Origins of the British Avebury Stonehenge Sounds of Stonehenge The British Museum British Isles Megaliths Gower Peninsula Rock Art Mendip Hills Prehistory Northumberland Rock Art Red Lady of Paviland Stone Age Mammoth Abattoir Archive Index Introduction Peterborough Petroglyphs Western Canadian Rock Art Writing-On-Stone Wuikinuxv Territory Dinosaur Provincial Park Archive Index Huashan Rock Art Yinchuan Museum Rock Art Festival Field Trip Gallery Itinerant Creeds Inner Mongolia & Ningxia Vanishing Civilization Life in Rock Art (PDF) Tibet Tibet Photographs Dazu Rock Carvings Tiger Motif Archive Index Chauvet Cave Lascaux Cave Niaux Cave Cosquer Cave Rouffignac Cave Portable Art Defining Rock Art Tuc d'Audoubert Bison Dr. Jean Clottes Index UNESCO World Heritage Introduction Cave Paintings Gallery Visiting the Chauvet Cave Return to Chauvet Cave Investigating the Cave Venus & Sorcerer Werner Herzog Film Chauvet Publications India Archive Index Rock Art Central India Pachmarhi Hills India Rock Art Gallery Preservation & Education Dr. V. S. Wakankar Articles on India Rock Art Contemporary Art Sri Lanka Archive Index Rock Paintings & Engravings Sri Lanka Rock Art Gallery Middle East Archive Index Middle East Inroduction Rock Art of Iran Rock Art of Saudi Arabia United Arab Emirates Rock Art Ancient Geometry Middle East Colonisation Scandinavian Rock Art Archive Scandinavian Introduction Alta Rock Art Norway Rock Art in Finland Tanum Rock Art Sweden Thor Heyerdahl Archive Index Introduction America's Oldest Art? Pedra Furada Bolivian Rock Art Campeche Island - Brazil Checta Petroglyphs - Peru Cueva de las Manos Santa Catarina Island - Brazil Rock Art in Britain Campeche Rock Art Petroglyphs El Salvador - Corinto Cave Hand Rock Art Paintings Tibetan Rock Art United Arab Emirates Uzbekistan Yinchuan Rock Art Museum Introduction Ice Age Art Gallery Claire Artemyz Jill Cook Interview Cycladic Introduction Cycladic Gallery A Cultural Memory Izzy Wisher Biography Deer-tooth necklace Cave Art Introduction Geometric Signs Chart Research Methodology Geometric Signs in France Sign Types/Countries/Regions Bibliography Ancient Symbols in Rock Art Newsletter Archive Download Issues Introduction Genetic Map Professor Stephen Oppenheimer Further Reading Origins of the British BBC Documentary Origins Index Origins Overview 13 Big Questions Stanley Ambrose Homo Floresiensis Herto Skulls Homo Dmanisi Liujiang Skull Introduction Sentinels in Stone Easter Island Rock Art Birdman Cult / Motif Sea & Marine Creatures Design & Motifs Dr Georgia Lee Easter Island Map Contemporary Art Glossary Conclusion Thor Heyerdahl Introduction When & Who Built It? How Was It Built? The Area Sounds of Stonehenge Meaning of a Pyramid Pyramid Studies Pyramid Superstructure Pyramid Substructure Pyramid Preparations Pyramid Building Saqqara Nabil Swelim Temples of Malta and Gozo Research in the Caucasus The Keselo Foundation Homo Dmanisi Ancient Toolmakers Index Introduction Descent into the Cave The Decorated Caves Shamanistic Experience Spring Initiation Rites Summary Page 1 Page 2 Page 3 Page 4 Professor John P. Miller Motif: Eternal Index Banksy Han Meilin Bruce Radke Christian Tuki Gordon Ellis-Brown Site Map Search the Website Glossary of Terms & Definition Podcast on iTunes Other Websites Contact the Foundation