[book cover]
Petroglyphs: Ancient Language, Sacred Art, Sabra Moore
1998, Clear Light Publishers, Santa Fe, cloth, dj
183 pages, 100 b/w illustrations, index, bibliography, lists of public sites, 7-3/4" x 7-3/4"

Sabra Moore offers a treasury of faithful artistic renderings of ancient native art from all regions of the North American continent. A description accompanies each of her illustrations, providing information on the location of the drawing, painting, or incised image, the culture from which it came, and what is known about its significance and meaning for the people who created it. The images include animals and objects, humans, hybrid human-animal forms, symbols, calendars and star markers, and celestial beings -- incised in caves, on cliffs, and boulders, on artifacts, and even under water. Moore's drawings provide not only aesthetic pleasure but clearer images of the art than can normally be achieved through photography.

This book is an enticing introduction to this unique art form -- its range., diversity, and locations -- as well as a record of many sites that are endangered or damaged or have recently been destroyed. As destruction by both vandals and the bulldozer continues, it is the author's hope that this book will bring greater public awareness to a fragile and irreplaceable heritage.

Sabra Moore is an artist residing in northern New Mexico. She comes from a quilt making family in East Texas and uses text and history in her sewn and painted constructions. Some of her artist's books are in the collections of the Museum of Modern Art, The Brooklyn Museum, and other institutions. She was a Nw York resident for many years, working as an artist, illustrator, and photo editor. Sje has exhibited extensively in New York, Canada, New Mexico, and Brazil. She is committed to the idea of placing artwork within a social context and has worked with feminist art groups towards this goal. She was a longtime member of the Heresies Collective, a New York-based fwminist journal on art and politics. Moore has also organized several large-scale women's collaborative exhibitions on themes of social concern, including a 1984 project involving the "reconstruction" of a Maya codex. She illustrated Bullfinch's Mythology (50 drawings) and provided 150 petroglyph drawings for Through Indian Eyes.

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