The Rock Art Network Jo McDonald
The Rock Art Network Jo McDonald
The Rock Art Network Jo McDonald
Jo McDonald
Profile
Professor Jo McDonald, Rio Tinto Chair of Rock Art Studies, ARC Future Fellow (2011-2016), Director of the Centre for Rock Art Research & Management at the University of Western Australia.

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Professor Jo McDonald is the Director of the Centre for Rock Art Research + Management at the University of Western Australia. She has been recording rock art in Australia for almost 40 years. She has recently completed an ARC Future Fellowship, undertaking a comparative study of rock art in Australia’s Western Desert and the Great Basin of the USA. She holds the Rio Tinto Chair in Rock Art Studies, funded by RTIO’s Commonwealth Conservation Agreement for the Dampier Archipelago. She has developed a considerable body of rock art management practise – formulating management plans at the regional level (e.g. Sydney Basin, Western Desert, Port Hedland, Dampier Archipelago) as well as site specific (e.g. Whale Cave, Blackfellow’s Hands). She has been an expert witness in Native Title cases, where rock art has been deployed as part of the legal argument (De Rose Hill, Martu and Birriliburru). She undertook the stylistic analysis and co-wrote the National Heritage Listing and Outstanding Universal Values documents for the Dampier Archipelago (NHL listed in 2007). She has been contextualising rock art through excavation and direct-dating since she undertook her PhD research in Sydney. Her recent excavation at Serpents Glen (Karnatukul) pushed back occupation of Australia’s desert to 50,000 years ago, as well as demonstrating contemporaneous rock art production and occupation evidence in the last millennium.

She was a Partner Investigator on the ARC Canning Stock Route: Rock Art and Jukurrpa Linkage Project (2007-2010), which recorded over 800 rock art sites through the Western Desert. She was Lead Chief Investigator (CI) on the ARC Murujuga: Dynamics of the Dreaming Linkage Project (2014-2018) with RTIO as the Linkage Partner and Murujuga Aboriginal Corporation as the collaborating partner. She is currently a CI on the Deep History of Sea Country ARC project, which is exploring the potential of submerged heritage around the Dampier Archipelago. Since starting at UWA in 2012, she has developed and led a culture of collaborative partnerships with the Aboriginal communities and Industry, particularly in the Pilbara, Western Desert and Kimberley regions.

Working with visualisation specialists and spatial scientists she explored the use of 3D visualisation, photogrammetry and laser scanning of Aboriginal art sites for research and management. She has been central to the current push for World Heritage Listing of the Dampier Archipelago, being a co-convenor of a World Heritage Summit in Karratha in August 2018. She is currently on two State-based interagency committees overseeing the nomination of this region to the Tentative List, and monitoring industrial emissions. She is the Chair of Australia ICOMOS’ National Scientific Committee on Rock Art.

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Latest Article
→ A complex ritualised landscape: Newly discovered later prehistoric rock art and monuments in Ynys Môn, North Wales
by
George Nash

5/09/2024

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LATEST ARTICLE
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RECENT ARTICLES
Bradshaw Foundation Donate Friends
→ Sigubudu: Paintings of people with guns in the northern uKhahlamba-Drakensberg
by Aron Mazel
22/07/2024
→ Prehistomania
by Richard Kuba
13/06/2024
→ Women Hunters in Indian Rock Art
by Meenakshi Dubey-Pathak
8/03/2024
→ Vingen Rock Art in Norway at Risk
by Rock Art Network
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→ Professor emeritus Knut Arne Helskog is awarded the King's Medal of Merit
by Rock Art Network
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→ Escaped slaves, rock art and resistance in the Cape Colony, South Africa
by Sam Challis
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→ Markwe Cave, Zimbabwe
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→ Art and Influence, Presence and Navigation in Southern African Forager Landscapes
by Sam Challis
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→ History debunked: Endeavours in rewriting the San past from the Indigenous rock art archive
by Sam Challis
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→ Post-Traumatic Stress Disorder (PTSD) and forager theories of disease in nineteenth century southern Africa, and its implications for understanding images of conflict in San rock art
by Sam Challis
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→ Ancient Aboriginal rock carvings vandalised
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→  Two NSW men found guilty of using oily handprints to damage sacred Uluru cave art
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→  Reflecting on the abundance of sheep and baboon paintings in Junction Shelter, Didima Gorge, South Africa
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→  Rock Art Sites Protection and Guides Training In Satpura Tiger Reserve
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→  Rock art and frontier conflict in Southeast Asia: Insights from direct radiocarbon ages for the large human figures of Gua Sireh, Sarawak
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by Paul Taçon
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→  Identifying the artists of some of Australia's earliest art
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→ Between Monument and Water: Burial rites, location of megalithic monuments and rock art of the Kilmartin Valley, Argyll, Western Scotland (Stage 1 of the Motifs and Monuments Project)
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by Aron Mazel, George Nash
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→ Histories of Australian Rock Art Research
by Paul S.C. Taçon, Sally K. May, Ursula K. Frederick, Jo McDonald
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→ Rock Art and Tribal Art: Madhya Pradesh
by Meenakshi Dubey-Pathak
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by Johannes H. N. Loubser
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by Meenakshi Dubey-Pathak
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→  And then they were gone: Destruction of the Good Hope 1 rock paintings
by Aron Mazel
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→  Early masterpieces: San hunter-gatherer shaded paintings of the uKhahlamba-Drakensberg and surrounding areas
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→ More Rock Art Network Articles
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Rock Art Network
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Bradshaw Foundation Donate Friends
LATEST ARTICLE
Bradshaw Foundation Donate Friends
RECENT ARTICLES
Bradshaw Foundation Donate Friends
→ Sigubudu: Paintings of people with guns in the northern uKhahlamba-Drakensberg
by Aron Mazel
22/07/2024
→ Prehistomania
by Richard Kuba
13/06/2024
→ Women Hunters in Indian Rock Art
by Meenakshi Dubey-Pathak
8/03/2024
→ Vingen Rock Art in Norway at Risk
by Rock Art Network
6/02/2024
→ Professor emeritus Knut Arne Helskog is awarded the King's Medal of Merit
by Rock Art Network
14/12/2023
→ Escaped slaves, rock art and resistance in the Cape Colony, South Africa
by Sam Challis
5/12/2023
→ Markwe Cave, Zimbabwe
by Aron Mazel
30/11/2023
→ Art and Influence, Presence and Navigation in Southern African Forager Landscapes
by Sam Challis
21/11/2023
→ History debunked: Endeavours in rewriting the San past from the Indigenous rock art archive
by Sam Challis
15/11/2023
→ Post-Traumatic Stress Disorder (PTSD) and forager theories of disease in nineteenth century southern Africa, and its implications for understanding images of conflict in San rock art
by Sam Challis
10/11/2023
→ Ancient Aboriginal rock carvings vandalised
by Rock Art Network
6/11/2023
→  Two NSW men found guilty of using oily handprints to damage sacred Uluru cave art
by Rock Art Network
3/11/2023
→  Reflecting on the abundance of sheep and baboon paintings in Junction Shelter, Didima Gorge, South Africa
by Aron Mazel
2/11/2023
→  Rock Art Sites Protection and Guides Training In Satpura Tiger Reserve
by Meenakshi Dubey-Pathak
26/09/2023
→  Rock art and frontier conflict in Southeast Asia: Insights from direct radiocarbon ages for the large human figures of Gua Sireh, Sarawak
by Paul Taçon
24/08/2023
→  Beginning of a Rock Art Journey - Recording Paintings in the uKhahlamba-Drakensberg 1979 - 1980
by Aron Mazel
13/06/2023
→  Murujuga's rock art is at risk – where is the outrage?
by Paul Taçon
5/06/2023
→  Identifying the artists of some of Australia's earliest art
by Paul Taçon
15/03/2023
→ Between Monument and Water: Burial rites, location of megalithic monuments and rock art of the Kilmartin Valley, Argyll, Western Scotland (Stage 1 of the Motifs and Monuments Project)
by George Nash
14/03/2023
→ Rock Art Training and Recording Petroglyphs in Laos
by Noel Hidalgo Tan
10/02/2023
→ Unlocking a hidden landscape
by George Nash
01/02/2023
→ 'Powerful Images - Indian rock art from its earliest times to recent times'
by Meenakshi Dubey-Pathak, Pilar Fatás Monforte
29/11/2022
→ Signalling and Performance: Ancient Rock Art in Britain and Ireland
by Aron Mazel, George Nash
21/09/2022
→ Histories of Australian Rock Art Research
by Paul S.C. Taçon, Sally K. May, Ursula K. Frederick, Jo McDonald
07/07/2022
→ Rock Art and Tribal Art: Madhya Pradesh
by Meenakshi Dubey-Pathak
26/07/2022
→ Marra Wonga: Archaeological and contemporary First Nations interpretations of one of central Queensland’s largest rock art sites
by Paul Taçon
20/07/2022
→ David Coulson MBE
by David Coulson
16 June 2022
→  Extraordinary Back-to-Back Human and Animal Figures in the Art of Western Arnhem Land, Australia: One of the World's Largest Assemblages
by Paul Taçon
25 April 2022
→  An online course by SEAMEO Regional Centre for Archaeology and Fine Arts (SPAFA)
by Noel Hidalgo Tan
20 April 2022
→  Cupules and Vulvas in the Alwar area, Rajasthan
by Meenakshi Dubey-Pathak
14 March 2022
→  Color Engenders Life - Hunter-Gatherer Rock Art in the Lower Pecos Canyonlands
by Carolyn Boyd & Pilar Fatás
02 March 2022
→  David Coulson receives RGS Cherry Kearton Award
by David Coulson
07 February 2022
→  Vandalised petroglyphs in Texas
by Johannes H. N. Loubser
06 February 2022
→  Hand Stencils in Chhattisgarh
by Meenakshi Dubey-Pathak
05 February 2022
→  And then they were gone: Destruction of the Good Hope 1 rock paintings
by Aron Mazel
28 January 2022
→  Early masterpieces: San hunter-gatherer shaded paintings of the uKhahlamba-Drakensberg and surrounding areas
by Aron Mazel
8 September 2021
→  Aїr Mountains Safari - Sahara
by David Coulson
17 August 2021
→  The Neolithic rock art passage tombs of Anglesey as brand-new virtual tours
by Ffion Reynolds
21 June 2021
→ More Rock Art Network Articles
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