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Dr. Levitt pictured, shoulders up, in a purple shirt and glasses, reading from Maggie Nelson's The Red Parts from her office. A Photograph in Words Laura Levitt Article
A still from a YouTube video features a choir, symphony orchestra, and conductor on the Carnegie Hall stage Pausing on a Sunday: What Kind of Secular is the American Musical? Kathryn Lofton Article
View of bright, open building with white rafters pointed steeply at the roof. People, seen from a distance, walk through the space. A Closing Conversation Sarah Rivett and Lerone Martin Article
Long brown hair fastened with bejeweled rose clip, photographed from the back with shoulders--in blue and pink floral top--in frame The Intimate Ironies of the Wifey: Material Religion and the Body Ellen Amster, Dusty Gavin, and Suzanne van Geuns Article
Frontispiece to Claude d'Abbeville, Histoire de la Mission Material Objects
Abstract painting with a circle at its centre divided up into segments of block colour Designing Risk, Accumulating Failure: Purgatory, the Planned, and Primitive Accumulation Kati Curts, Emily Floyd and Paul Johnson Article
Sperm Whale lithograph from Charles Scammon's Marine Mammals Material Objects
Hilma Af Klint, Series VII, No. 7B Material Objects
Photo of a book against a dark background, opened to a full spread of a scientific illustration of a sperm whale The Old Gods: Whales, Oil, and Teak Judith Brunton, Richard Callahan and Alex Kaloyanides Article
Close detail image of a segment of a ring from a felled tree American Performances, Economies, and Genealogies of Constraint Laura Levitt, Sally Promey, and David Walker Article
Two engraved whale teeth are photographed together vertically. The tooth on the left is engraved with a two-mast ship sailing in front of a landscape, with a border of palm fronds above the scene. The tooth on the right features a cloaked woman in profile Sperm Whale Teeth in Circulation: A Case Study in Material Economics Richard J. Callahan, Jr. Article
Fourteen Magdalens--six kneeling in the front row, and eight standing behind--are photographed outside, in front of trees and brush, in black and white habits respective to their individual categorization. The photo is in mostly sepia tones. “Colored Magdalens,” House of the Good Shepherd for Colored Girls, Baltimore, ca. 1930s Tracy Fessenden Article