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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.

Conversations

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.

  • Gregory Price Grieve
    What does a virtual meditation cushion tell us about material and visual cultures of religion?
  • Jonathan Schorsch
    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.
  • Sally M. Promey
    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.
  • Stephanie Bilinksy
    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.
  • Suzanne Karr Schmidt
    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.
  • Eleanor A. Laughlin
    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.
  • Ayla Lepine
    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.
  • Sally M. Promey
    A Collection of chalkware from the Material Objects Archive
  • Margaret Olin
    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.
  • Vasilieos Marinis
    Eikonostasia (Greek: εικονοστάσια, singular: eikonostasi, literally: “icon stand”) are a constant if understated part of Greek urban and rural landscape.
  • This painting depicts an idealized vision of Aztec life set in a manicured garden setting. The placid scene consists of a tan-skinned woman in a white tunic with a yellow cape strolling past a nude man on a bench. He reclines back and offers her flowers.
    Breanne Robertson
    Utah artist George Martin Ottinger painted Aztec Maiden during the last quarter of the nineteenth century, when numerous theories proliferated about the history and origins of indigenous American civilizations.
  • Laura S. Levitt
    What does it mean to hold onto evidentiary objects, ordinary objects that may never make it to court, the evidence from the vast majority of crimes that remain otherwise unresolved, including so many of the horrific crimes that constitute the Holocaust?
  • Suzanne Glover Lindsay
    The French Republic's July 1793 exhumation of the royal tombs intertwines not only contemporary religion and politics but also religious traditions with contemporary intellectual debate.
  • Emily Engel
    Material objects, including a group of documentary paintings of Our Lady of Cocharcas, recall the processes by which ancient Andean pilgrimage traditions became deeply integrated into late-colonial socio-religious consciousness.
  • A large wooden figure has an oversized head with carved scarification. Flat breasts with carved, erect nipples and scarification flow over the sculpture's curved, four-legged base. The work's face has large ears and a rounded, protruding nose.
    Frederick John Lamp
    What is the meaning of the word "spirit" in Africa?
  • Guy Jordan
    The old Islamic Center of Murfreesboro was not, it seems, meant to be seen at all. A yearning to blend in, be ordinary, unremarkable, even overlooked, would, as I later discovered, inflect the architectural presentiments of the old and new centers alike, and provide an apt metaphor for the struggles that have confronted the Islamic community in this small city in central Tennessee.
  • Minoo Moallem
    Consumption as a material practice changes religious meanings and practices, and value comes to be invested in certain religious objects, rituals, and ideas rather than others.
  • Ashley Makar
    Imam Shamsi Ali is an Islamic scholar, Chairman of the Al-Hikmah Mosque in Astoria, and the Director of Jamaica Muslim Center in Queens.
  • Ashley Makar
    Ashley Makar interviewed Reverend Alex Dyer, priest-in-charge of St. Paul and St. James Episcopal Church of New Haven, CT in May 2011.
  • Bryan Wolf
    The world of handmade objects and manual labor turns strange in Puryear's Desire, and in this way, the ordinary becomes—here is list of options, choose one—estranged, uncanny, defamiliarized.
  • In a black and white photo, a young light-skinned man wears a slightly rumpled suit jacket. He looks up and out of the picture frame in the portrait.
    Lindsay Reckson
    Early debates around the use of the electric chair pivoted on the convergence of state and divine power.
  • A circular tortoiseshell frame holds an embroidered image of an enthroned Virgin wearing a light blue cloak and holding the Christ child. Both wear royal coronets. A treasure chest lies open on the ground at their feet.
    Cristina Cruz González
    Nun's badges worn in colonial New Spain not only articulated a woman’s religious affiliations, family fortune, and ethnic purity but also expressed her desire to influence political opinion.
  • A white t-shirt with blue lettering that reads "Adonai" is displayed on a black clothing form. The text uses the same geometric sans font used by Adidas, and the trefoil corporate logo is included in blue above the "ai."
    Anne Grant
    The t-shirt’s appropriation of a multinational sportswear corporation’s logo into a sacred Hebrew name for God could be simply a clever play on words, but a more critical approach might take into account the commodification of this sacred name for the deity and its subsequent selling in the marketplace for profit.
  • Interviewed by Ashley Makar
    Ashley Makar interviewed Julie Dickerson in 2010 while she was painting a mural of “dancing saints”—ranging from Moses’ sister Miriam to Martin Luther King—in the undercroft at St. James and St. Paul Episcopal Church in New Haven, Connecticut (affectionately nicknamed “St. PJ's”).
  • In this painting, a light-skinned man in a black waistcoat raises his hand and addresses a large assembly of figures. They wear stereotypical American Indian dress of hide clothes and red or blue cloaks. Teepees stand in the background.
    Nathan Rees
    Although LDS doctrine esteemed Native Americans as literal descendants of the peoples of the Book of Mormon, relations between Mormons and Indians in Utah grew increasingly strained as resources became scarce. Christensen’s work reflects this divided perspective.
  • A gem-encrusted gold altar is a squat rectangular box with a white-speckled porphyry top. Archangels, apostles, and Christ are shown within a colonnade depicted on the object's sides.
    Crispin Paine
    The portable altar seems to have developed in the missionary world of the seventh century, to meet the Church's requirement that Mass be celebrated only on a consecrated altar—a requirement that strengthened the position of bishops, who alone could consecrate them.
  • Akela Reason
    In his 1880 The Crucifixion, Thomas Eakins, a reputed agnostic, crafted a realist interpretation of one of the central devotional subjects in Christian art, challenging the traditional iconography of the crucifixion by eliminating all signs of divine presence.
  • Sally M. Promey
    Visibly claiming to regulate the prescribed Christian imitation of the biblical figures they represented, late-nineteenth and early-twentieth century statues of light-complexioned religious figures populated domestic spaces, churches, and missions fields, and implied that looking like Jesus or Mary or John might be more “natural” or “complete” for some than for others.
  • Anya Montiel
    Unlike its solid stone predecessor, deSoto’s work, made from painted polyethylene cloth, is hollow, filled only by air from a fan that keeps the sculpture inflated. The resemblance to the reclining Buddha is nonetheless remarkable, from the curls of hair to the folds of the robe, the one exception being that deSoto superimposed his own facial features, complete with goatee, on this Buddha.
  • Sally M. Promey
    In the second half of the nineteenth century, in Europe and the United States, chalkware accomplished for three-dimensional devotional objects what chromolithography managed for images in two dimensions.
  • A black and white photo depicts a dark-skinned woman in a white veil cradling a swaddled baby close to her chest. She fold her hands in her lap and casts her eyes down. A nativity star is visible in the righthand corner.
    Camara Dia Holloway
    During the Harlem Renaissance, mother and child portraits and figure studies were especially popular in the African American media, signaling the importance placed on motherhood and the nurturing of future generations.
  • Ashley Makar
    This conversation about spirituality happened in the home of Aparajita Guha in Rexford, New York, on June 20, 2012. Guha, a practicing Hindu, is a family friend of Ashley Makar, who is a practicing Christian.
  • Sally M. Promey
    Among the material items that might occupy the pre-Vatican II American Catholic home, regardless for the most part of the occupant’s ethnicity or familial nation of origin, the last rites cabinet or viaticum (Latin for “supply of provisions for a journey”) asserted a powerful daily and nightly presence.
  • The rectangular swaths of color on a color field painting do not extend to the end of the canvas. A red stripe at the center lies below a larger section of yellow and above a hazy rectangle of orange.
    Andrea Pappas
    Strong, gestural markings in the central red band distinguish this painting from Rothko’s other mature works. This anomaly consists of long, gently undulating lines formed by gouging the surface of the paint all the way to the canvas before it dried. Straining out from a central point, the horizontal lines contrast sharply with the fuzzy, indeterminate edges of the other elements of the painting.
  • A busy painting captures a profusion of 19th century figures in one crowded section of the sunny street. Men dig trenches or toss back drinks. Women grasp babies, hand out pamphets, hold baskets of flowers, and stroll by with parasols.
    Tim Barringer
    Ford Madox Brown’s allegory of labor in all its forms is the most ambitious Pre-Raphaelite painting of modern life and a profound meditation on the relationship between art, religion, and labor in Victorian society.

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