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Reflections on the United States National Museum-Gates 136 JOURNAL OF CALIFORNIA AND GREAT BASIN ANTHROPOLOGY Loendorf, Lawrence L. Reflections on the United States 1984 Documentation of Rock Art at Petroglyph Canyon, Montana. University of North Da­ National Museum-Gates kota, Department of Anthropology and Ar­ Expeditions to the American chaeology, Contribution 207. Southwest, 1901 and 1905 1990 A Dated Rock Art Panel of Shield Bearing Warriors m Southcentral Montana. Plains MAX G. PAVESIC Antiiropologist 35(127):45-54. Dept. of Anthropology, Boise State Univ., Boise, ID 83725. 1994 Traditional Archaeological Methods and Thek Applications at Rock Art Sites. In: New Light on Old Art, David S. Whitiey American archaeology has reached a level and Lawrence L. Loendorf, eds., pp. 95- of intellectual maturity which allows the study 103. Los Angeles: University of Califor­ and analysis of its development. While most nia, Los Angeles, Institute of Archaeology studies have stressed the growth of the disci­ Monograph 6. pline, few have emphasized the sociohistorical Paik, John A. context or the motivations of the individuals in­ 1990 The Sknanton Peooglypb HUl Site (24PH- volved. The United States Natioruil Museum- 2072): A Ceremonial Complex in North- Gates Southwest expeditions serve as a focus of em Montana. Archaeology In Montana these historical variables, and this report dis­ 31(2):41-49. cusses community lifestyle, expedition partici­ pants, and financial agreements to clarify the Rabiega, Greer organization and success of the endeavors. MS A Study of the Artifacts and Debitage Created During the Production of Indirect Percussion Petroglyphs. MS m possession of the author. TURN of the centuty American archaeology wit­ Schaafsma, Polly nessed a shift in regional studies from the 1980 Indian Rock Art of the Southwest. Albu­ "Moundbuilder" controversy of the Eastern querque: University of New Mexico Press. Woodlands to the American Southwest (Willey Steinbring, J. H. and Sabloff 1980). The Soutiiwest offered tiie MS The Herschel Rock Art Project. Manu­ study of sedentaty, pottety-producing Pueblo so­ script in possession of the authors. cieties as part of a historical continuum in a spec­ Tumer, Christy tacular natural setting. Early archaeologists tended 1%3 Petroglyphs of the Glen Canyon Region. Flagstaff: Museum of Northem Arizona, to view the archaeological record as a mirror of Bulletin 38. contemporaty Pueblo culture (Gumerman 1991: von Werlhof, Jay C. 102), thereby establishing a focused direction to 1%5 Rock Art of Owens Valley, California. areal sttidies. This period (ca. 1875 to 1920) Berkeley: Reports of the University of "played an important role in the professionaliza- California Arcbaeolc^cal Survey No. 65: tion of anthropology" (Parezo 1987:4) and in the 1-128. large archaeological and ethnographic museum Walker, Danny N., and Julie E. Francis collections established throughout the countty. 1989 Legend Rock PeOoglyph Site (48H04), WyMning: 1988 Archaeological Investiga­ While the United States National Museum-Gates tions. Report on fUe at the Wyoming State (hereinafter referred to as USNM-Gates) expedi­ Archaeologist's Office, Laranue, Wyom- tions were a part of this practice, little is known of mg. the background of this effort. As Hinsley (1986: Whitiey, David S., Ronald I. Dom, Joseph M. Si­ 231) observed: mon, Robert Rechtman, and Tamara K. Whitiey MS Sally's Rockshelter and the Archaeology Curiously, we know very littie of those who of the Vision Quest. MS in possession of paid for so much American archaeology: their mo­ the authors. tivations, expectations, or influences on its devel- REPORTS 137 Peter Goddaid Gates (no date given, photog­ 2. Gertmde Lewis Gates, ca. 1895 (photog­ rapher unknown). (Mary Lemon Brown col­ rapher unknown). (Mary Lemon Brown col­ lection, courtesy of the Community Library, lection, courtesy of the Community Library, Ketchum, IdalK).) Ketchum, Idaho.) opment. The subject has a special claim to at­ THE SOUTHERN CALIFORNIA SCENE tention, for k connects the "internal" history of this scientific and humanistic enterprise-one that By the late 1800s, affluent conmiunities in has traditionally enjoyed a broad base of public southem California, such as South Pasadena, be­ sympathy and mterest- with the larger sociological conditions of its growth. came bastions of the arts and social experimenta­ tion. In these settings, Victorian ideals began to This report provides a reconstmction of the meld with an overlay of new attitudes and artistic historical and social contexts of the USNM-Gates expressions. This was also tiie time that the United expeditions, identifies the personalities involved, States was experiencing vast industrialization, and briefly summarizes expedition findings. Par­ rapid urbanization, the opeiung of new western ticular emphasis is placed on the influence of the frontiers, and the creation of the Euroamerican "Arts and Crafts" movement on southem Cali­ myth of the southwestern and southem Califomia fornia expedition financiers and participants, in­ ideals (Higham 1965; Lash 1965; Starr 1973). cluding Peter Goddard Gates, Gertmde Lewis The late Victorian period has been characterized as Gates, and Adam Clark Vroman (see Figs. 1 and an age of peace and posterity, particularly for the 2). American upper ntiddle class, people who buUt 138 JOURNAL OF CALIFORNL\ AND GREAT BASIN ANTHROPOLOGY large houses, fumishmg and decoratmg them with The Pasadena embodiment of the Craftsman the arts and crafts of the tkne. Emulating the ideal was locally centered in the "Arroyo Culture" European nobUity with thek private museum rooms, the middle class had their own versions in (Winter 1980a). The Arroyo Seco drainage in Pas­ the parlors [Gogol 1985:20]. adena, South Pasadena, and Highland Park was lined with bungalows, including many designed by Native American baskets, mgs, and pottety be­ the famous Greene brothers (Winter 1980b). In came part of the Victorian furnishings incorporat­ this region, the blendkig of architecture and nature ed into an expanding commercial "ethnic art" had a conscious style: market(Wade 1985:167). Looming on the horizon was a new artistic movement spurred on by the Now the use of this woodsy Craftsman style 1876 Centennial Exposition ki Philadelphia. Amer­ was no simple coincidence of time and fortune. It has an ideological, even moral significance. On ican artistic self-confidence was manifest in the cre­ one level the material and the fiision of styles indi­ ation of dozens of arts and crafts societies between cate a feeling for the envkonment of the Arroyo, 1893 and 1901 (Anscombe and Gere 1978:9). an attempt to associate well known picturesque hu­ man contrivances with the picturesque natural The Arts and Crafts (or Craftsman) movement landscape [Wmter 1980a: 14]. evolved in England as a reaction to the fine arts and industrialization. A philosophy demanding Therefore, the Arroyo's natural setting and im­ recognition of applied and decorative arts was posed architecture was an outward expression of championed by Thomas Carlyle and transformed a particular lifestyle: into action under John Ruskin and the fiety, re­ The Arroyo style was suitable for artists and formed bourgeois socialist William Morris (Stan- literaiy pecple wiiose ambience included the Cole­ sky 1985): man Chamber Music concerts and the Pasadena Playhouse. As at Beikeley, the other great Cali­ Ruskin was concerned that the iron hand of fomia center of Craftsman architecture, the simple the machine was enslaving, rather than freeing sm^ed bungalow, enriched with the most discrim- man, that specialization was fragmenting rather matkig taste m pamting and handcrafts, was buUt dian making him whole. He pictured art as a ne­ by inteUectuals, not necessarily people endowed cessity to life, and the hand and commitment of with genius but the California variety of intellec­ the artist as necessary to art. He viewed creative tual, productive, m tune with liberal ideas, cosmo- labor as a fulfUlment rather than a curse. Medi­ poUtan, and at the same time in touch with nature, evalism and the Guild system recurred as ideals even folksy ki his attimdes toward famUy and the towards a Utopian social order [Moore 1980:7]. good Hfe [Wmter 1980a: 15]. These ideals eventually found expression in Cali­ The southem Califomia Arts and Crafts motif fomia: further blended with a raising humanitarian con­ sciousness (witness Helen Hunt Jackson's Ramo- It is my belief that the ideas of Carlyle and Ruskin, expressed and enlarged on by Morris, rm) and insights into historical preservation, espe­ seeped into the (ptknistic consciousness of turn of cially the Spanish missions and Native American the century Califomia and found perhaps thek values. Local protagonists included George Whar­ broadest and most diverse expressions. ... It is a ton James and Charles Fletcher Lummis. Lununis tradition of life style, aesthetic value judgements and kivolvement with materials. It is expressive, was of particular importance to the local scene and e^qierimental, and as diverse as the visions of the was wifliout doubt the dominant crasading force of artists [Moore 1980:9]. tiie Arroyo scene (Walker 1950; Gordon 1972): The American Arts and Crafts expression, like In Southem Califomia, Lummis' dynamism the EngHsh, flourished in architecture and evety- quickly led to the organization of small groups of men and women determined to advance new un­ day material culture items, such as furniture, derstanding and new consideration for the Indians glass, weaving, and pottety (Clark 1972).
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