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Crow Indian Rock Art: Indigenous Perspectives and Interpretations
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Crow Indian Rock Art: Indigenous Perspectives and Interpretations (2015)Crow Indian Rock Art: Indigenous Perspect…Rock art as a source of contemporary cultural identity: a Siberian-Canadian Comparative Study (2021)Rock art as a source of conte…White Swan: On Possible Further Additions to the Oeuvre of a Crow Warrior-Artist (2020)White Swan: On Possible Furth…‘I Have Done Hundreds of Rock Paintings’: On the Ongoing Rock Art Tradition among Samburu, Northern Kenya (2020)‘I Have Done Hundreds of Rock…Dating Crow Rock Art through Multivariate Statistical Comparison with Biographic Artworks (2019)Dating Crow Rock Art through …Cheval Bonnet: A Crow Calling Card in the Blackfeet Homeland (2018)Cheval Bonnet: A Crow Calling…Memory, Materiality, and Place in Ojibway Rock Art Performances (2017)Memory, Materiality, and Plac…Assessing the chronology of post-contact rock art on the northern Plains via multivariate statistical comparison with Blackfoot biographic art (2016)Assessing the chronology of p…Picture-writing of the American Indians (1894)Cultural transmission, language, and basketry traditions amongst the California Indians (2003)Encyclopedia of Global Archaeology (2014)Stylistic Change and Emic Cultural Continuity in Archaic-Period Anthropomorphs at No Bear, Montana (2020)Changing patterns of stylistic diversity in Blackfoot biographic art across the nineteenth century (2021)Phenomenology of Perception (1982)The Logic of Practice (1990)The Interpretation of Cultures (2017)The Role of Landscape and Prehistoric Rock Art in Cultural Transmission and the Prevalence of Collective Memory (2022)The Horse in Blackfoot Indian Culture. By John C. Ewers. (1955)The Blackfeet Raiders on the Northwestern Plains (1958)Letters and Notes on the Manners, Customs, and Conditions of North American Indians (1975)A DStretch discovery: A Crow calling card pictograph at Writing-on-Stone (2023)The Crow Indians (1956)Handbook of rock art research (2001)Situated Learning (1991)Situated Learning: Legitimate Peripheral Participation. (1994)Communities of practice learning, meaning, and identity (1999)Rock Art and Children: Towards an Inter-Generational Perspective on Past and Present Visual Cultures (2020)Always Ritual, Symbolic and Religious? An Essay on the Alta Rock Art and the Archaeological Quest for Meaning (2022)Sensory perception in cultural studies—a review of sensorial and multisensorial heritage (2023)Plains Indian art from Fort Marion (1971)Plains Indian drawings, 1865-1935: pages from a visual history (1997)Plains Indian Rock Art (2016)Bird Rattle’s Petroglyphs at Writing-On-Stone:Continuity in the Biographic Rock Art Tradition (2000)Relating to Rock Art in the Contemporary World: Navigating Symbolism, Meaning, and Significance (2016)Rock Art of Northern, Central, and Western Asia (2017)“I Am From Here”: Rock Art, Heritage and Identity (2024)
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  • 2016Assessing the chronology of post-contact rock art on the northern Plains via multivariate statistical comparison with Blackfoot biographic art10 cited
  • 2020‘I Have Done Hundreds of Rock Paintings’: On the Ongoing Rock Art Tradition among Samburu, Northern Kenya7 cited
  • 2017Memory, Materiality, and Place in Ojibway Rock Art Performances7 cited
  • 2018Cheval Bonnet: A Crow Calling Card in the Blackfeet Homeland5 cited
  • 2019Dating Crow Rock Art through Multivariate Statistical Comparison with Biographic Artworks5 cited
  • 2021Rock art as a source of contemporary cultural identity: a Siberian-Canadian Comparative Study1 cited
  • 2020White Swan: On Possible Further Additions to the Oeuvre of a Crow Warrior-Artist0 cited

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