Allen, H., 1997. The distribution of large blades: evidence for recent changes in aboriginal ceremonial exchange networks, in Archaeology and Linguistics: Aboriginal Australia in Global perspective, eds. McConvell, P. & Evans, N.. Melbourne: Oxford University Press, 357–77.
Arifin, K. & Delanghe, P., 2004. Rock Art in West Papua. Paris: UNESCO.
Aubert, M., Brumm, A., Ramli, M., et al., 2014. Pleistocene cave art from Sulawesi, Indonesia. Nature 514 (7521), 223–7.
Bahn, P.G., 1998. The Cambridge Illustrated History of Prehistoric Art. Cambridge: Cambridge University Press.
Berndt, R.M. & Berndt, C.H., 1970. Man, Land and Myth in North Australia: The Gunwinggu people. East Lansing (MI): Michigan State University Press.
Brandl, E.J., 1988. Australian Aboriginal Paintings in Western and Central Arnhem Land: Temporal sequences and elements of style in Cadell River and Deaf Adder Creek art. Canberra: Australian Institute of Aboriginal Studies.
Chaloupka, G., 1984. Rock Art of the Arnhem Land Plateau: Paintings of the Dynamic Figures Style. Unpublished report. Darwin: Northern Territory Museum of Arts and Sciences.
Chaloupka, G., 1993. Journey in Time. Sydney: Reed Books
Chaloupka, G. & Giuliani, P., 2005. Strands of time, in Twined Together: Kunmadj Njalehnjaleken, ed. Hamby, L.. Gunbalanya: Injalak Arts & Crafts, 2–17.
Chippindale, C. & Taçon, P.S.C., 1998. The many ways of dating Arnhem Land rock-art, in The Archaeology of Rock-Art, eds. Chippindale, C. & Taçon, P.S.C.. Cambridge: Cambridge University Press, 90–111.
Clarkson, C., Jacobs, Z., Marwick, B., et al., 2017. Human occupation of northern Australia by 65,000 years ago. Nature 547, 306–10.
Dobrez, P., 2013. The case for hand stencils and hand prints as proprio-performative. Arts 2, 273–327.
Elkin, A.P., 1952. Cave painting in southern Arnhem Land. Oceania 22 (4), 245–55.
Flood, J., 1983. Archaeology of the Dreamtime. Sydney: Collins.
Flood, J., 1987. Rock art of the Koolburra Plateau, north Queensland. Rock Art Research 4 (2), 91–126.
Forge, A., 1991. Handstencils: rock art or not art, in Rock Art and Prehistory: Papers presented to symposium G of the AURA Congress, Darwin, 1988, eds. Bahn, P. & Rosenfeld, A.. Oxford: Oxbow Books, 39–44.
García-Diez, M., Garrido, M., Hoffmann, D.L., Pettitt, P.B., Pike, A.W. & Zilhão, J., 2015. The chronology of hand stencils in European Palaeolithic rock art: implications of new U-series results from El Castillo Cave (Cantabria, Spain). Journal of Anthropological Sciences 93, 135–52.
Goldhahn, J., 2014. Engraved biographies: rock art and life-histories of Bronze Age objects. Current Swedish Archaeology 22, 97–136.
Gunn, R.G., 2006. Hand sizes in rock art: interpreting the measurements of hand stencils and prints. Rock Art Research 23 (1), 97–112.
Gunn, R.G., 2007. The interpretation of handedness in Australian Aboriginal rock art. Rock Art Research 24 (1), 1–10.
Gunn, R.G., Douglas, L.C. & Whear, R.L., 2012. An example of stencil masking from the Arnhem Land plateau. Rock Art Research 29 (2), 238–41.
Hamby, L., 2010. Containers of Power: Women with clever hands. Richmond: Utber & Patullo.
Hamby, L., 2011. Held by the teeth: biting bags from Milingimbi. Journal of Australian Studies 35 (4), 511–27.
Hayward, J.A., 2016a. Reading the Signs: Depictions of People and Things in the Rock Art of Mirarr Country, Northern Territory, Australia. Unpublished PhD thesis, Australian National University.
Hayward, J.A., 2016b. A mutual correspondence? Comparing the rock art of western Arnhem Land with the S.A. Museum's Australian Aboriginal material culture collection. Journal of the South Australian Anthropological Society 40, 1–34.
Hayward, J.A., 2017a. The agency of artefacts: socio-ideological function and the long-necked spearthrower of Mirarr Country, Northern Australia, in The Archaeology of Rock Art in Western Arnhem Land, Australia, eds. David, B., Taçon, P.S.C., Delannoy, J.J. & Geneste, J.M.. Canberra: ANU Press, 69–86.
Hayward, J.A., 2017b. The broad spearthrower in Arnhem Land rock art: a reassessment of Lewis's Broad Spearthrower Period. The Artefact (special edition: Artefacts in Art: material culture in the rock art of northern Australia) 38, 27–40.
Hodgson, R.R., 1995. Variations in the Aboriginal Material Culture of the Alligator Rivers Region. Unpublished MA thesis, Australian National University.
Johnston, I.G., 2017. Body ornamentation in dynamic scenes: ritual and headdresses in the Dynamic Figure rock art of western Arnhem Land, Australia. The Artefact (special edition: Artefacts in Art: material culture in the rock art of northern Australia) 38, 67–80.
Johnston, I.G., Goldhahn, J. & May, S.K., 2017. Dynamic Figures of Jabiluka: Chaloupka's 4-phase theory and the question of variability within a rock art ‘style’, in The Archaeology of Rock Art in Western Arnhem Land, Australia, eds. David, B., Taçon, P. S. C., Delannoy, J.J. & Geneste, J.M.. Canberra: ANU Press, 109–28.
Jones, P., 1996. ‘A Box of Native Things’: Ethnographic Collectors and the South Australian Museum, 1830s–1930s. Unpublished PhD thesis, University of Adelaide.
Jones, P., 2004. Boomerang: Behind an Australian icon. Adelaide: Wakefield Press.
Jones, T. & May, S.K., 2017. Rock art and ritual function: the Northern Running Figures of western Arnhem Land. The Artefact (special edition: Artefacts in Art: material culture in the rock art of northern Australia) 38, 53–66.
Jones, T., Levchenko, V.A., King, P.L., Troitzsch, U., Wesley, D., Williams, A.A. & Nayingull, A., 2017. Radiocarbon age constraints for a Pleistocene–Holocene transition rock art style: the northern Running Figures of the East Alligator River region, western Arnhem Land, Australia. Journal of Archaeological Science: Reports 11, 80–89.
Kelly, L., 2015. Knowledge and Power in Prehistoric Societies: Orality, memory and the transmission of culture. Cambridge: Cambridge University Press.
Layton, R., 1992. Australian Rock Art: A new synthesis. Cambridge: Cambridge University Press.
Lewis, D., 1988. The Rock Paintings of Arnhem Land, Australia: Social, ecological and material culture change in the Post-Glacial period. (BAR International series S415.) Oxford: British Archaeological Reports.
Lewis, D., 1996. In defence of Arnhem Land rock art research. Australian Archaeology 43, 12–20.
Lorblanchet, M., 1980. Peindre sur les parois de grottes [Painting on cave walls]. Les Dossiers d'Archéologie 46, 33–9.
Macintosh, N.G.W., 1952. Paintings at Beswick Creek Cave, Northern Territory. Oceania 22, 256–74.
Macintosh, N.G.W., 1977. Beswick Creek Cave two decades later: a reappraisal, in Form in Indigenous Art, ed. Ucko, P.J.. Canberra: Australian Institute of Aboriginal Studies, 191–7.
May, S.K. & Domingo Sanz, I., 2010. Making sense of scenes. Rock Art Research 27, 35–42.
May, S.K., Johnston, I.G., Taçon, P.S.C., Domingo Sanz, I. & Goldhahn, J., 2018. Early Australian anthropomorphs: the global significance of Jabiluka's Dynamic Figure rock art. Cambridge Archaeological Journal 28 (1), 67–83.
May, S.K. & Murphy, A., 2005. Some baskets are special ones, in Twined Together: Kunmadj Njalehnjaleken, ed. Hamby, L.. Gunbalanya: Injalak Arts & Crafts, 44–51.
May, S.K., Taçon, P.S.C., Wesley, D. & Travers, M., 2010. Painting history: indigenous observations and depictions of the ‘other’ in northwestern Arnhem Land, Australia. Australian Archaeology 71 (1), 57–65.
May, S.K., Taçon, P.S.C., Wright, D., Marshall, M., Goldhahn, J. & Domingo Sanz, I., 2017. The rock art of Madjedbebe (Malakunanja II), in The Archaeology of Rock Art in Western Arnhem Land, Australia, eds. David, B., Taçon, P.S.C., Delannoy, J.J. & Geneste, J.M.. Canberra: ANU Press, 87–108.
McDonald, J., 2008. Dreamtime Superhighway: An analysis of Sydney Basin and prehistoric information exchange. (Terra Australis series 27.) Canberra: ANU Press.
Miller, E., 2016. The Case for Baskets: Rock Paintings of Bags and Baskets in Western Arnhem Land, Australia. Unpublished BA (Hons) thesis, Australian National University.
Moore, D.R., 1977. The hand stencil as symbol, in Form in Indigenous Art, ed. Ucko, P.J.. Canberra: Australian Institute of Aboriginal Studies, 318–24.
Morley, I., 2007. New questions of old hands: outlines of human representation in the Palaeolithic, in Image and Imagination: A global prehistory of human representation, eds. Renfrew, C. & Morley, I.. Cambridge: McDonald Institute for Archaeological Research, 69–82.
Morphy, H., 1991. Ancestral Connections: Art and an Aboriginal system of knowledge. Chicago (IL): University of Chicago Press.
Murgatroyd, W., 1991. Djaperi: A Prestige Item in Aboriginal Exchange. Unpublished BA (Hons) thesis, Northern Territory University.
Robert-Lamblin, J., 2003. An anthropological view, in Return to Chauvet Cave: Excavating the birthplace of art. The first full report, ed. Clottes, J.. London: Thames & Hudson, 200–207.
Rosenfeld, A., 1993. The Panaramittee tradition, in Sahul in Review: Pleistocene archaeology in Australia, New Guinea and Island Melanesia, eds. Smith, M., Spriggs, M. & Fankhauser, B.. Canberra: Department of Prehistory, Australian National University, 71–80.
Ross, J. & Davidson, I., 2006. Rock Art and Ritual: An archaeological analysis of rock art in arid Central Australia. Journal of Archaeological Method and Theory 13 (4), 305–41.
Smith, C., Domingo Sanz, I. & Jackson, G., 2016. Beswick Creek Cave six decades later: change and continuity in the rock art of Doria Gudaluk. Antiquity 90, 1613–28.
Taçon, P.S.C., 1989. From Rainbow Snakes to X-ray Fish: The Nature of the Recent Rock Painting Tradition of Western Arnhem Land, Australia. Unpublished PhD thesis, Australian National University.
Taçon, P.S.C., 1991. The power of stone: symbolic aspects of stone use and tool development in western Arnhem Land, Australia. Antiquity 65, 192–207.
Taçon, P.S.C., 1994. Socialising landscapes: the long-term implications of signs, symbols and marks on the land. Archaeology of Oceania 29 (3), 117–29.
Taçon, P.S.C. & Brockwell, S., 1995. Arnhem Land prehistory in landscape, stone and paint. Antiquity 69, 676–95.
Taçon, P.S.C. & Chippindale, C., 1994. Australia's ancient warriors: changing depictions of fighting in the rock art of Arnhem Land, N.T. Cambridge Archaeological Journal 4, 211–48.
Taçon, P.S.C. & Chippindale, C., 2001. Transformation and depictions of the First People: animal-headed beings of Arnhem Land, N.T., Australia, in Theoretical Perspectives in Rock Art Research, ed. Helskog, K.. Oslo: Novus Forlag, 175–210.
Taçon, P.S.C., Langley, M., May, S.K., Lamilami, R., Brennan, W. & Guse, D., 2010. Ancient bird stencils discovered in Arnhem Land, Northern Territory, Australia. Antiquity 84, 416–27.
Taçon, P.S.C., Tan, N.H., O'Connor, S., et al., 2014. The global implications of the early surviving rock art of greater Southeast Asia. Antiquity 88, 1050–64.
Taylor, L., 1996. Seeing the Inside: Bark painting in western Arnhem Land. Oxford: Clarendon Press.
Thomas, N., 1991. Entangled Objects: Exchange, material culture and colonialism in the Pacific. Cambridge (MA): Harvard University Press.
Thomson, D.F., 1935. Making of Stone Spear Heads and Stone (circumcision) Knives, Ngillipidji, Upper Walker River, Blue Mud Bay, October, 1935. Unpublished extract from the original field notes of D.F. Thomson.
Thomson, D.F., 1949. Economic Structure and the Ceremonial Exchange Cycle in Arnhem Land. Melbourne: Macmillan.
Wade, V., Wallis, L. & Corporation, Woolgar Valley Aboriginal, 2011. Style, space, and social interaction: an archaeological investigation of rock art in inland north Queensland, Australia. Australian Archaeology 72, 23–43.
Walsh, G.L., 1979. Mutilated hands or signal stencils? Australian Archaeology 9, 33–41.
Walsh, G.L., 1983. Composite stencil art: elemental or specialized? Australian Aboriginal Studies 2, 34–44.
Walsh, G L., 1999. Carnarvon and Beyond. Carnarvon Gorge (QLD): Takarakka Nowan Kas Publications.
Walsh, G.L., 2000. Bradshaw Art of the Kimberley. Carnarvon Gorge (QLD): Takarakka Nowan Kas Publications.
Warner, W. L., 1958. A Black Civilisation. New York (NY): Harper & Brothers.
Welch, D.M., 1997. Fight or dance? Ceremony and the spearthrower in northern rock art. Rock Art Research 14 (2), 88–112.
Wright, B., 1985. The significance of hand motif variations in the stencilled art of the Australian Aborigines. Rock Art Research 2 (1), 3–19.
Wright, D., Langley, M., May, S.K., Johnston, I.G. & Allen, L., 2016. Painted shark vertebrate beads from the Djawumbu-Madjawarrnja complex, western Arnhem Land. Australian Archaeology 82 (1), 43–54.
Wright, D., May, S.K., Taçon, P.S.C. & Stephenson, B., 2014. A scientific study of a new cupule site in Jabiluka, Western Arnhem Land. Rock Art Research 31 (1), 92–100.
Yates, A.F., 1966. The Art of Memory. Chicago (IL): University of Chicago Press.
Yilmaz, A., 2010. Memorialization as the art of memory: a method to analyse memorials. METU Journal of the Faculty of Architecture 27 (1), 267–80.