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MAVCOR Journal is an open access born-digital, double blind peer-reviewed journal dedicated to promoting conversation about material and visual cultures of religion. Published by the Center for the Study of Material and Visual Cultures of Religion at Yale University and reviewed by members of our distinguished Editorial Board and other experts, MAVCOR Journal encourages contributors to think deeply about the objects, performances, sounds, and digital experiences that have framed and continue to frame human engagement with religion broadly understood across diverse cultures, regions, traditions, and historical periods.

Conversations

MAVCOR began publishing Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion in 2014. In 2017 we selected a new name, MAVCOR Journal. Articles published prior to 2017 are considered part of Conversations and are listed as such under Volumes in the MAVCOR Journal menu.

  • Nathan Rees
    Although LDS doctrine esteemed Native Americans as literal descendants of the peoples of the Book of Mormon, relations between Mormons and Indians in Utah grew increasingly strained as resources became scarce. Christensen’s work reflects this divided perspective.
  • Crispin Paine
    The portable altar seems to have developed in the missionary world of the seventh century, to meet the Church's requirement that Mass be celebrated only on a consecrated altar—a requirement that strengthened the position of bishops, who alone could consecrate them.
  • Akela Reason
    In his 1880 The Crucifixion, Thomas Eakins, a reputed agnostic, crafted a realist interpretation of one of the central devotional subjects in Christian art, challenging the traditional iconography of the crucifixion by eliminating all signs of divine presence.
  • Sally M. Promey
    Visibly claiming to regulate the prescribed Christian imitation of the biblical figures they represented, late-nineteenth and early-twentieth century statues of light-complexioned religious figures populated domestic spaces, churches, and missions fields, and implied that looking like Jesus or Mary or John might be more “natural” or “complete” for some than for others.
  • Anya Montiel
    Unlike its solid stone predecessor, deSoto’s work, made from painted polyethylene cloth, is hollow, filled only by air from a fan that keeps the sculpture inflated. The resemblance to the reclining Buddha is nonetheless remarkable, from the curls of hair to the folds of the robe, the one exception being that deSoto superimposed his own facial features, complete with goatee, on this Buddha.
  • Sally M. Promey
    In the second half of the nineteenth century, in Europe and the United States, chalkware accomplished for three-dimensional devotional objects what chromolithography managed for images in two dimensions.
  • Camara Dia Holloway
    During the Harlem Renaissance, mother and child portraits and figure studies were especially popular in the African American media, signaling the importance placed on motherhood and the nurturing of future generations.
  • Ashley Makar
    This conversation about spirituality happened in the home of Aparajita Guha in Rexford, New York, on June 20, 2012. Guha, a practicing Hindu, is a family friend of Ashley Makar, who is a practicing Christian.
  • Sally M. Promey
    Among the material items that might occupy the pre-Vatican II American Catholic home, regardless for the most part of the occupant’s ethnicity or familial nation of origin, the last rites cabinet or viaticum (Latin for “supply of provisions for a journey”) asserted a powerful daily and nightly presence.
  • Andrea Pappas
    Strong, gestural markings in the central red band distinguish this painting from Rothko’s other mature works. This anomaly consists of long, gently undulating lines formed by gouging the surface of the paint all the way to the canvas before it dried. Straining out from a central point, the horizontal lines contrast sharply with the fuzzy, indeterminate edges of the other elements of the painting.
  • Tim Barringer
    Ford Madox Brown’s allegory of labor in all its forms is the most ambitious Pre-Raphaelite painting of modern life and a profound meditation on the relationship between art, religion, and labor in Victorian society.
  • Petra ten-Doesschate Chu and Peter Ahr
    The internationally famous Danish sculptor Bertel Thorvaldsen (1789–1838) was asked to produce a series of colossal statues of Christ, John the Baptist, and the apostles for the new Neoclassical Vor Frue Kirke of Denmark. Of these, Christus (Christ) has become best-known. Copies of the sculpture, often true to size or even larger, can be found around the world.

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