Collections

To challenge the problematic narratives of modernity, perpetuated by both traditional and emergent approaches to modernism, Egyptian modern art should be analyzed through a new paradigm called, “constellational modernism.”

The objects on display in this collection stitch together what I call the “communion of shadows” that began with the invention of photography in the early nineteenth century.

With the Spanish invasion and colonization of Peru in the 1530s, the visual arts played an integral role in the religious indoctrination of indigenous and Afro-descendant communities to Catholicism. Mural painting in particular became a favored medium in early evangelization efforts because of its relatively low cost and shorter execution time in comparison to multimedia pieces such as retablos (altarpieces) and polychrome sculptures.

A Collection of chalkware from the Material Objects Archive

The eruv boundary marks the borders of imagined courtyards. It is a work of architecture and urban planning whose program is the neighborhood, and whose materials are the appropriated accumulations of urban life. It is also a work of art whose simple line surrounds and defines the complexity of urban space while it defines the complex human community that inhabits its space.

Eikonostasia (Greek: εικονοστάσια, singular: eikonostasi, literally: “icon stand”) are a constant if understated part of Greek urban and rural landscape.