MAVCOR Journal

born digital, peer-reviewed

  • Carolina Sacristán-Ramírez
    Paintings are silent, but not to those who know how to listen. Some paintings appeal to the sense of hearing in order to stimulate the beholder’s emotional engagement. For eighteenth-century nuns living in the Viceroyalty of Peru, paintings could evoke Latin polyphony or villancicos, songs in the vernacular performed in sacred contexts.
  • Lloyd Barba
    Trump has relentlessly pushed for a “monument” that cannot be torn down or simply relocated: the wall.
  • Frank Graziano
    The architecture of New Mexican village churches is often described as vernacular, which is to say that the construction materials (adobe, stone, vigas, latillas) are local; the design reflects local taste, tradition, and resources; the construction standards are idiosyncratic, pursuant to the experience, inclinations, and skills of the builders; and the finished product represents the history and cultural identity of the community.
  • Sally M. Promey
    Obey God and Live (Vision of Heaven) is Elijah Pierce’s personal conversion narrative. In this piece of wood he depicted the definitive episode of his own spiritual autobiography, an event in his past that he understood to (re)organize, interpret, and frame his entire life.
  • Esther Kersley
    This series of images, taken over the course of six months, documents the street altars dotted around Mexico’s dense, urbanized capital, home to over twenty-one million people.
  • Laura S. Levitt
    In The Resolution of the Suspect, photographer Miki Kratsman builds on the reliquary nature and the transitive qualities of the carte-de-visite, creating a diptych: the historic image on one page of the centerfold and his own photograph of the bloody garment of a single unnamed Palestinian martyr on the other.