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  • 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.
  • Sepia-toned photograph of a sculpture of a woman turning her head
    Alex Dika Seggerman
    The history of global modernity is entangled with colonial histories, which continue to inculcate the identities of colonizer and colonized. The existing methodological approaches to non-Euro-American modernist art movements risk perpetuating colonial narratives. 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.”
  • 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.