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Rock of Lower Pecos. CAROLYN E. BOYD. Texas A&M University Press, College Station, 2003. 139 pp., 2 tables, 60 figs., 5 color plates. $45.00 (hardback), ISBN 1-58544-259-3. Reviewed by Carol Diaz-Granados In Rock of Lower Pecos, Carolyn Boyd puts forth cogent argument in support of interpretation of prehistoric pictographs, using the most abundant and well-preserved art in (p. 19). Her methodology and line of reasoning are sound, result of years of research on lower Pecos rock art. It is chapters 4 and 5 in particular that make this book valuable study on prehistoric hunter-gatherers of lower Pecos River region and images they left behind. In spite of occasional contradictory statements and redundancies, and few other lesser problems, Boyd has produced vigorous work. My criticisms, which are essentially minor, in no way diminish value of this publication. The book is divided into six chapters. In chapter 1, Boyd introduces her primary objectives, which are reasonable and achieved. Although it has been debated ad nauseam, I appreciate her discussion of Is it art? or Art in Western vs. non-Western societies, because this is ponderous consideration when dealing with pre-historic American Indian petroglyphs and pictographs. Furthermore, it is an avenue seldom considered when addressing other archaeological materials which display pictorial attributes that can be analyzed with regard to style as well as possible subject matter. In chapter 2, Boyd sets stage for occurrence of rock art in lower Pecos River region with an overview of environment. She also covers local cultures and time periods and includes radiocarbon dates obtained on pigments. In third chapter, Boyd explains her research design and offers an analysis of five Lower Pecos rock art panels and three recurring Much of this chapter dwells on her method of redrawing pictographs. She criticizes value of photographic evidence, and this is an area with which I disagree. Nothing quite equals value of high-quality, scaled photographs and slides. Although few black-and-white photographs are included, Boyd has produced mostly drawings in black and white with section devoted to her color renderings. These color renderings, with their attention to detail, are impressive. Boyd first emphasizes details, then later states that details are not important, stressing rather relationship and placement of elements and motifs. Boyd's color renderings are artistic works in themselves and definitely help reader to view imagery in its totality and under optimal conditions. In fact, color drawings convey just painted appearance regarding these well-preserved lower Pecos images. The only thing missing from color renderings is feeling for actual context of placement, contours, texture of stone canvas, and its inherent imperfections (except for an occasional indication). In emphasizing that redrawing of pictographs is only way to go, Boyd neglects to mention that rendering of panel, or a rendering of rendering, is most likely going to introduce human biases because of variations in perception. Nevertheless, drawings are effective and add special dimension to book. It would have been interesting to see comparison between color photograph of panel and its color rendering. …
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