Fleming’s trilogy illustrates the complex dynamics of race, religion, and visual arts in the interwar United States. Though the extant scholarship highlights the increasing Anglo-Saxonization of Jesus’s body in American visual culture in this era, Fleming’s story reveals a virtually opposite impulse in liberal Protestantism: to search for multiple colors of Christ.
The authors set the nucleating body of the medieval Virgin in conversation with contemporary reimaginings of the Madonna to ask how hybridization, fracture, insertion, assemblage, color, multiplicity, and meaning around sacred and secular exchange can change the way we know and see in relation to these forms from the medieval to the postmodern.