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Mud wasps used to date Australia's aboriginal rock art – BBC News

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When the veteran telecoms engineer Damien Finch went on a three-week bush walk in Australia’s Kimberley region, he became enthralled with its rock art.

On his return home, he tried to find out more about these enigmatic aboriginal paintings and engravings.

“I couldn’t believe how little was known about them; we didn’t even know how old they were,” Damien said.

“It seemed disrespectful that scientists hadn’t studied this stuff more; it was downplaying the importance of the culture,” he told BBC News.

Now, 10 years on and in his 60s, Damien is putting that right.

He’s approaching the end of his doctoral research on the topic, and in this week’s Science Advances journal, has published his own efforts to age the Kimberly’s so-called Gwion figures.

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These feature finely painted human forms, often in elaborate ceremonial dress and carrying spears and boomerangs.

It was thought they were painted some 16,000 years ago, but the University of Melbourne investigator has been able to show the likely age is nearer in time – at about 12,000 years ago.

Dating rock art is really hard. Aboriginal artists use iron oxide pigments (ochre) which contain no organic material and are therefore resistant to any radiocarbon analysis.

Damien has got around this by studying instead the scraps of organic matter stuck on top of and underneath the paintings.

And for this, he’s working with wasps. In particular, the ones that build nests out of mud. There’s a wide group of these.

Some will enclose their prey – such as a paralysed spider or caterpillar – inside an earthen box. Before sealing the lid, the wasps lay an egg on the unfortunate victim. The developing larva then consumes the immobile spider or caterpillar, eventually digging its way out of the nest as an adult to carry on the cycle.

From Damien’s point of view, when the female wasp gathers her mud supplies she inevitably picks up fragments of charcoal from the Kimberley’s fire-prone landscape. And this charcoal can be radiocarbon dated.

He’s examined the remains or more than 20 ancient nests at various rock art sites.

Material that smothers pigment gives a minimum age; underlying material provides a maximum age.

A distribution of dates from many locations enables an estimate to be made for when the Gwion style was in vogue.

“All this is important because we can now begin to match the rock art with other types of information we are getting in the Kimberley, such as the stone tools that are uncovered by archaeologists and what we understand was happening with the climate and sea-levels. Things like that.”

The paintings he and his team have been working on are, of course, sites of immense cultural significance.

All the sampling was guided and approved by representatives from the traditional owners of the artwork.

“We couldn’t have done what we did without their active support and encouragement,” Damien told BBC News.

He’s hopeful the mud-wasp dating technique can now be used at more locations right across the north of Australia, and perhaps at other rock art locations in the Americas and Europe.

Gavin Broad is the principal curator in charge of insects at London’s Natural History Museum. He described the Australian research as “very smart”.

“There was a paper about this some years ago, but the techniques seem to have improved since then,” he told BBC News.

“In this study, the nests are made by Sceliphron, which are wasps of the family Sphecidae, superfamily Apoidea.

“These are well-known mud-daubers in much of the warmer parts of the world.

“However, the real diversity of potter wasps is in the Eumeninae, a subfamily of Vespidae (superfamily Vespoidea). Their nests range from holes in mud to simple cells (like Sceliphron) to ornate little pots.

“There are also some spider-hunting wasps (family Pompilidae), which represent at least a third evolution of making clay nests.”

Jonathan.Amos-INTERNET@bbc.co.uk and follow me on Twitter: @BBCAmos

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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Sudbury art, music festival celebrating milestone

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Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.

The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.

Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”

With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.

The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.

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