It's possible to imagine an exhibition one day where the «Armi» and the «Finte sculture» would be shown near the last groups
of works — albeit ideally in separate rooms — illustrating what a jump it was for Pascali to make sculptures based on animal forms, or how he moved from using industrial materials to re-create contemporary weaponry into using domestic materials to conjure a
world of prehistoric fantasy.
During these same years, the reflections on
prehistoric art by the French archeologist and historian André Leroi - Gourhan gave contemporary artists an opportunity to rethink manual
work and the value
of an object's fabrication in a consumerist
world.
Although Long has also made
work at other ancient sites elsewhere in the
world, he is wary
of stressing direct affinities between the
work he makes and
prehistoric art:
Opening with a biographical sketch
of Broecker — who, we learn, was born to an Evangelical suburban Chicago family, and initially drifted into his scientific vocation via a summer job in a radiocarbon dating lab — the book explains the currently - accepted Milankovitch theory
of Ice Age glaciation; proceeds to an account
of the Dr. David Keeling's measurements atmospheric CO2; continues with a summary
of research
work on glacial ice cores, sediments, and fossil pollen from around the
world showing startlingly abrupt
prehistoric climate changes; and moves on to the possible consequences
of continued warming, closing with an account
of the prospects
of removing carbon dioxide from the atmosphere.