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MAVCOR Journal
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.
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.
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If the land “was Mexican once and Indian always,” migrants are not outsiders or “illegals.” They—we—belong to the land. -
A follower of Bawa Muhaiyaddeen, Green is based in Pennsylvania and is best known for his illustrations in The Illuminated Rumi (1997). -
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. -
What does a virtual meditation cushion tell us about material and visual cultures of religion? -
The power to protect against “nature” now dwells in the human scientific-technological skills mastered by a certain culture, whose prowess enables it to discover these new (meta)physical angels and harness their powers. -
The cultural politics of space has to do not simply with space itself, but with how it is occupied, enacted, performed, and marked—and sometimes, in Hawaiʻi and elsewhere, at least apparently unmarked. -
Ex-votos at the Shrine of St. Roch occupy a complex place within conceptions of New Orleans as the subject of Protestant fascination with exoticized material aspects of Catholic practice. -
While most Renaissance and Baroque engravings, etchings, and woodcuts were printed on paper, some extraordinary impressions were produced on silk or linen. Contact relics provided a devotional inspiration for the most evocative of these prints on fabric. -
The carte-de-visite of Maximilian von Habsburg’s shirt satisfied a sensational interest in the political event and served as a mourning object, offering the living both visual and tactile connections to the deceased to aid in the grieving process. -
Produced in a Christian tradition for the viewing pleasure of the London art world's cultured audiences, William Quiller Orchardson’s The Story of a Life alludes to the controversies and contentions of religious life and women’s roles in mid-nineteenth-century Britain. -
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.
