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.

We present an AMS radiocarbon date from a bird image in a cave on the island of Hispaniola in the northern Caribbean. Borbón Cave No. 1 contains a key rock art assemblage that likely reflects a significant part of past native Taíno societies’ symbolic thought and beliefs. The grouping has already served to define one rock art style in the Antilles: the Borbón School. Our sample yielded a date of 890 ± 30 BP (1045–1225 cal AD). This result, as well as additional published dates for the region, confirms that these images were created before European contact with the region. Further dating comparison indicates that Taíno artistic traditions persisted for some years after the arrival and settlement of Spanish colonists on the island.

This article contributes to understanding of Contemporary Art and of the temporality of contemporaneity, along with the philosophy of time more generally. I propose a diachronic contemporaneity over time gaps – elective contemporaneity – through examination of Kant’s Transcendental Aesthetic, the Third Analogy and the concept of ‘following’ among artistic geniuses; diachronic recognition and disjunctive synchronicity discoverable in William Kentridge’s multimedia artworks; as well as non-chronological temporal implications of superimpositions in late Palaeolithic cave art suggesting ‘graphic respect’. Elective contemporaneity shows up complexity in relations to past and present, putting in question definitions of ‘Contemporary Art’ restricted to either chronology or supposedly definitive paradigms.

Northern Spain has a high density of Upper Palaeolithic cave art sites. Until recently, however, few such sites have been reported from the Basque Country, which has been considered to be a ‘void’ in the distribution of parietal art. Now, new discoveries at Danbolinzulo Cave reveal a different situation. The graphic homogeneity of the motifs, which comprise five ibex, two horses and a possible anthropomorph, along with several unidentified figures, strongly suggests a pre-Magdalenian (>20 000 cal BP) date for the art. Here, Danbolinzulo is interpreted in its wider context as occupying a pivotal position between Cantabrian-Iberian and French/continental art traditions.

Rock art is key for understanding European Palaeolithic societies. Long thought to have been restricted to South-west Europe, recent discoveries on the Balkan Peninsula have expanded significantly the geographic distribution of Upper Palaeolithic figurative rock art, calling into question the idea of its limited distribution. This article presents the first example of figurative cave art discovered in the Balkan region, at Romualdova Pećina (‘Romuald's Cave’) in Croatia, discussing its chronology and relevance in the context of recent research in Pleistocene art.

The Caribbean island of Mona, on a key Atlantic route from Europe to the Americas, was at the heart of sixteenth-century Spanish colonial projects. Communities on the island were exposed to the earliest waves of European impact during a critical period of transformation and the forging of new identities. One of many caves within an extensive subterranean world on the island was marked both by indigenous people and by the first generations of Europeans to arrive in the New World. This account of spiritual encounters provides a rare, personalised insight into intercultural religious dynamics in the early Americas.

It is now 20 years since the discovery of the Grotte Chauvet with its impressive cave art, but controversy continues over the antiquity of the images. Radiocarbon assays have been used to argue that the ‘black series’ charcoal drawings date to the Aurignacian period, more than 20 000 years earlier than traditional stylistic models would suggest. This paper questions the validity of the radiometric dating and cautions against reliance solely on the date of the charcoal. Instead, the authors propose an alternative chronology for the art of Chauvet based on stylistic comparanda, palaeontological remains and stratigraphic evidence.

The motifs, techniques and stylistic features of Upper Palaeolithic art offer enormous potential for the investigation of social and cultural interactions in south-western France and northern Spain during the later stages of the last ice age. The key regions of Aquitaine, Cantabria and the Pyrenees clearly share an overall family resemblance, but detailed analysis of horse heads on portable objects of bone, antler and stone from Magdalenian contexts reveal that particular features can be attributed to different regions at different periods. Furthermore, the patterns of interconnection are structured very differently in the Upper Magdalenian than in the Middle Magdalenian, perhaps as rising temperatures in the latter period led to territorial expansion and social realignment.

Systematic field exploration in Tennessee has located a wealth of new rock art—some deep in caves, some in the open air. The authors show that these have a different repertoire and use of colour, and a different distribution in the landscape—the open sites up high and the caves down low. The landscape has been reorganised on cosmological terms by the pre-Columbian societies. This research offers an exemplary rationale for reading rock art beyond the image and the site.

Marc Azéma a Palaeolithic researcher and film maker has been exploring the representation of animal movement in cave art for more than 20 years, and here shares with us his latest examples, culled from the parietal art in the Chauvet Cave (Ardèche) and La Baume Latrone (Gard). Here he has shown that Palaeolithic artists have invented systems of breaking down movement and graphic narrative. His co-author, Florent Rivère, discovered that animal movement was also represented in more dynamic ways—with the use of animals drawn on a spinning disc. In these flickering images created by Palaeolithic people, the authors suggest, lie the origins of cinema.

In case readers are wondering whether this paper is written tongue in cheek — or with tongue sticking out — it is worth recalling that modern archaeology includes recent periods in its remit, and uses recent materiality to help understand more ancient times as well as a critique on modernity itself. Here the authors find graffiti left by a notorious group of popular musicians and probe it for social meaning as earnestly as students of cave art. Their archaeological study finds an underlying driver that is part political, part personal and therefore also part (anti-)heritage.

The authors have discovered small oval panels of parallel lines in the famous Ligurian cave of Arene Candide, and show that it must be art of the Epigravettian period, c. 11-10000bp (uncalibrated).

How can we explain the variations and similarities of Palaeolithic art? Are we to suppose that European artists conformed to one great evolutionary sequence over 20 millennia? Or is the variation geographical, ideological or social? The author begins to address these big questions by deconstructing over 900 images of the horse, the animal most commonly depicted in European caves. He finds it possible to distinguish variations due to differences in live animals and due to differences in methods of representation – allowing the isolation of those few differences due to style. Applying this to a case study at Parpalló in Spain, he notes that the local sequence of horse images correlates with other cultural changes. Here is a method of great potential for revealing conservative and innovative trends.

Amongst the numerous images found on the walls of Palaeolithic caves, fluted lines, made by fingers dragged through a skin of wet clay remain some of the most intriguing. In their study of images at Rouffignac, the authors undertook experiments with a range of modern subjects who replicated the flutings with their hands. Comparing the dimensions of the experimental flutings with the originals, they conclude that the patterns on the roof of Chamber A1 at Rouffignac were made by the fingers of children aged between 2 and 5 years old. Given the current height of the chamber, such children would have needed to be hoisted aloft by adults. Who knows what lessons in art or ritual were thereby imparted to the young persons…

Rock art in an inland cave on the island of Lifou, New Caledonia, has been radiocarbon dated. A cluster of early paintings date to 2500 years ago, soon after the arrival of the first settlers, who must have quickly gone inland probably in pursuit of fresh water, available near the cave. They left their mark on the cave in the form of numerous hand stencils. During the first millennium AD, later generations of artists used the same cave, drawing birds and a circular sign for water still recognised by the present community.

Sexual roles in deep prehistory are among the most intriguing puzzles still to solve. Here the author shows how men and women can be distinguished by scientific measurement in the prints and stencils of the human hand that occur widely in Upper Palaeolithic art. Six hand stencils from four French caves are attributed to four adult females, an adult male, and a sub-adult male. Here we take a step closer to showing that both sexes are engaged in cave art and whatever dreams and rituals it implies.

New discoveries of cave art at Chauvet and elsewhere have produced radiocarbon dates which may seem startlingly early and demand dramatic revision to the traditional stylistic sequence. The authors warn that the radiocarbon dates may themselves need better validation.

Shamanic referents in Upper Palaeolithic cave art indicate its pivotal role in the Middle–Upper Palaeolithic transition. Etic models of shamanism derived from cross-cultural research help articulate the shamanic paradigm in cave art and explicate the role of shamanism in this transition. Shamanism is found cross-culturally in hunter-gatherer societies, constituting an ecological and psychosociobiological adaptation that reflects the ritual and cosmology of early modern humans. Shamanism played a role in cognitive and social evolution through production of analogical thought processes, visual symbolism and group-bonding rituals. Universals of shamanism are derived from innate modules, particularly the hominid ‘mimetic controller’ and music and dance. These induced altered states of consciousness, which produce physiological, cognitive, personal and social integration through integrative brain-processing. Shamanic altered states of consciousness have the cross-modal integration characteristic of the emergent features of Palaeolithic thought and facilitated adaptations to the ecological and social changes of the Upper Palaeolithic. Cross-modular integration of innate modules for inferring mental states (mind), and social relations (self/others), and understanding the natural world (classificatory schemas) produced the fundamental forms of trope (metaphor) that underlay analogical representation. These integrations also explain animism (mental and social modules applied to natural domains); totemism (natural module applied to social domain); and guardian spirit relations (natural module applied to self and mental domains).