https://www.canvasjournal.ca/read daily 0.75 2026-03-23 https://www.canvasjournal.ca/read/santa-maria-della-salute-marian-iconography-and-symbolism-as-an-allegory-of-the-virgins-salvation monthly 0.5 2026-03-22 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/311aca68-e36d-41b8-a6f4-ad6981f4466b/fig.+1.jpg Read - Santa Maria della Salute: Marian Iconography and Symbolism as an Allegory of the Virgin’s Salvation - Make it stand out Figure 1. Baldassare Longhena, Santa Maria della Salute, c. 1687, Istrian limestone, 47 x 70 m, Venice. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a4046e84-d0ac-47f1-80eb-f1dd743ad7dc/Screenshot+2026-03-22+at+12.01.43%E2%80%AFPM.png Read - Santa Maria della Salute: Marian Iconography and Symbolism as an Allegory of the Virgin’s Salvation - Make it stand out Figure 2. Unknown, Virgin with Twelve-Star Crown and Baton, c. 1687, bronze, Santa Maria della Salute, Venice. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/921f31cd-bbef-42c6-a5c2-8df9bfa512b5/fig+3.jpg Read - Santa Maria della Salute: Marian Iconography and Symbolism as an Allegory of the Virgin’s Salvation - Make it stand out Figure 3. Josse de Corte, Queen of Heaven Expelling the Plague, c. 1670, marble, 47 x 70 m, Santa Maria della Salute, Venice. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/fce1adc5-b4a5-49ad-b321-3b651761fc67/fig+4.jpg Read - Santa Maria della Salute: Marian Iconography and Symbolism as an Allegory of the Virgin’s Salvation - Make it stand out Figure 4. Unknown, Madonna and Child (Panagia Mesopantitissa), c. 12th century. Santa Maria della Salute, Venice. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/599fb600-5cc8-4d00-b381-b90ea6e0e49d/Screenshot+2026-03-22+at+12.05.01%E2%80%AFPM.png Read - Santa Maria della Salute: Marian Iconography and Symbolism as an Allegory of the Virgin’s Salvation - Make it stand out Figure 5. Baldassare Longhena, Plan of Santa Maria della Salute, c. 1631, sketch on paper, Archivio Parrocchiale di S. Maria in Vallicella, Rome. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/286bdf1f-060d-403a-8636-241e69d5ebeb/fig+6.jpg Read - Santa Maria della Salute: Marian Iconography and Symbolism as an Allegory of the Virgin’s Salvation - Make it stand out Figure 6. Baldassare Longhena, Façade of Santa Maria della Salute, c. 1687, Istrian limestone, Santa Maria della Salute, Venice. https://www.canvasjournal.ca/read/bridging-reality-and-fantasy-architecture-in-surrealist-photography monthly 0.5 2026-03-19 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773952917054-5M0P3M42YKCJRPYQOKOK/fig+1.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 1. Atget, Eugène, Storefront, Avenue des Gobelins, 1925, Museum of Modern Art, New York, N.Y. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773952957093-6BIFM62OSLXU9JOW6J9K/fig+2.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 2. Florence Henri, Parieser Fenster (Paris Window), 1929, silver print, Galleria Martini & Ronchetti. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773954974860-UVU83P905J5268ZS82PH/fig+3.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 3. Hans Bellmer, The Doll (La Poupée), 1935, photograph, The Menil Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956806932-GHRK2TRLP9AAAO0WHVHC/fig+4.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 4. Dora Maar, The Simulator (Le simulateur), 1936, photomontage, Musée National d’Art Moderne, Centre Georges Pompidou, Paris. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956807321-0QOYAZTGM52PZNSD51NH/fig+5.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 5. Dora Maar, Silence, 1936, photomontage, Centre Georges Pompidou, Paris. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956808054-LW36DP8XQVGU6ZMMN021/gif+6.jpeg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 6. Dora Maar, 29, rue d’Astorg, 1937, photo lithograph, Harvard Art Museums online collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956808370-3MXT2XHWGQOBVXWIWPIO/fig+7.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 7. René Magritte, On the Threshold of Liberty, 1937, oil painting, The Art Institute of Chicago. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956810465-HAVD5ILL0TLN9ZNF14MX/fig+8.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 8. René Magritte, Edward James in front of “On the Threshold of Liberty”, 1937, photograph, The Metropolitan Museum of Art, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956872750-LVOLBRW8U4COSL2PYP6R/fig+9.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 9. César Domela-Nieuwenhuis, Energie, 1931, photomontage, Centre Georges Pompidou. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956873064-4RGPEUGWZM7MAZ7YR3SA/fig+10.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 10. César Domela-Nieuwenhuis, Hamburg Importplatz (for Port Authority of Hamburg ad), 1929, photomontage. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956876340-KU3C5V0HMYUD1VY63Y4B/fig+11.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 11. Eugenio Recuenco, 365° (January 1st), 2021, photograph. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1773956876422-8QLOAZSRLR5YDMNFR1GA/fig+12.jpg Read - Bridging Reality and Fantasy: Architecture in Surrealist Photography - Figure 12. Eugenio Recuenco, 365° (October 17th), 2021, photograph. https://www.canvasjournal.ca/read/reimagining-disability-visual-culture-representation-and-the-law monthly 0.5 2026-03-19 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/51876a91-52a5-4751-90e6-5aa0fe6b548e/fig+1.png Read - Reimagining Disability: Visual Culture, Representation, and the Law - Make it stand out Figure 1. James Ernest Hunt, Charles Tripp, the Armless Man, 1899, photograph, The National Archives UK. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e01d0e66-73f1-4106-bcd4-19b19a823f88/fig+2.jpg Read - Reimagining Disability: Visual Culture, Representation, and the Law - Make it stand out Figure 2. Unknown, “Young girl cured by the March of Dimes springs from her wheelchair”, 1949, poster, March of Dimes Birth Defects Foundation, Arlington, Virginia. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/00e35615-d921-49c2-870f-5b19064c4e59/fig+3.jpg Read - Reimagining Disability: Visual Culture, Representation, and the Law - Make it stand out Figure 3. Katy Grannan, “Cover of New York Times Magazine featuring Harriet McBryde Johnson”, February 2003, magazine cover, The New York Times Company. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/91540d94-a3f3-49d9-ad1d-dd9f49b5fa19/fig+4.jpg Read - Reimagining Disability: Visual Culture, Representation, and the Law - Make it stand out Figure 4. Doug Auld, Shayla, 2006, oil on canvas, National Portrait Gallery, Washington D.C. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b2d6a312-b882-4275-a2ea-3975890b4226/fig+5.png Read - Reimagining Disability: Visual Culture, Representation, and the Law - Make it stand out Figure 5. Alexandros of Antioch, Venus de Milo, 2nd Century BCE, marble, Louvre Museum, France. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f60c0649-17df-4172-a723-9e08cc06fea5/fig+6.png Read - Reimagining Disability: Visual Culture, Representation, and the Law - Figure 6. René Magritte, Les Menottes de cuivre, 1931, painted plaster cast, Royal Museum of Fine Arts of Belgium. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/57def2e4-02bb-437c-a471-bd19619b5316/fig+7.png Read - Reimagining Disability: Visual Culture, Representation, and the Law - Make it stand out Figure 7. Marc Quinn, Allison Lapper Pregnant, 2005, marble, Unknown storage location. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/bc3e2b68-6045-4ef6-824f-742935267ea2/fig+8.png Read - Reimagining Disability: Visual Culture, Representation, and the Law - Figure 8. Josef Thorak, Comradeship, 1937, bronze, Unknown Location. https://www.canvasjournal.ca/read/between-land-and-sea-binary-reductionism-and-the-fluid-self-in-luca-1 monthly 0.5 2026-02-13 https://www.canvasjournal.ca/read/radical-humanism-velzquezs-representations-of-dwarfs-in-philip-ivs-court monthly 0.5 2026-02-13 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/58912e11-f541-4fb8-8108-9056a47b4dcd/Picture1.png Read - Radical Humanism: Velázquez’s Representations of Dwarfs in Philip IV’s Court - Make it stand out Figure 1. Rodrigo de Villandrando, Prince Philip and Miguel Soplillo, c. 1620. Oil on canvas. Museo del Prado, Madrid. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/89937746-b382-4e48-94ba-e16d808ce3f2/Picture2.png Read - Radical Humanism: Velázquez’s Representations of Dwarfs in Philip IV’s Court - Make it stand out Figure 2. Diego Velázquez, Philip IV as a Hunter, c. 1632-1633. Oil on canvas. Museo del Prado, Madrid. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/aeaeb354-31fc-48ee-b69b-4c05f21149ed/Diego_Vela%CC%81zquez_%E2%80%93_El_bufo%CC%81n_el_Primo_%28Museo_del_Prado%2C_1644%29.jpg Read - Radical Humanism: Velázquez’s Representations of Dwarfs in Philip IV’s Court - Make it stand out Figure 3. Diego Velázquez, The Buffoon El Primo, c. 1644. Oil on canvas. Museo del Prado, Madrid. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ba4343da-4c1f-4049-a8ee-249db8e8e087/Picture4.png Read - Radical Humanism: Velázquez’s Representations of Dwarfs in Philip IV’s Court - Make it stand out Figure 4. Diego Velázquez, Buffoon with Books, c. 1640. Oil on canvas. Museo del Prado, Madrid. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/67e6954c-f3b8-4517-8b95-e52a7f16a102/Picture5.png Read - Radical Humanism: Velázquez’s Representations of Dwarfs in Philip IV’s Court - Make it stand out Figure 5. Juan van der Hamen, Portrait of Buffoon, c. 1626. Oil on canvas. Museo del Prado, Madrid https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1cda1df8-e1f1-49c4-9a0d-effb7dc4a25c/Picture6.png Read - Radical Humanism: Velázquez’s Representations of Dwarfs in Philip IV’s Court - Make it stand out Figure 6. Diego Velázquez, The Boy from Vallecas (Francisco Lezcano), c. 1635-1645. Oil on canvas. Museo del Prado, Madrid. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/55b8d856-e1cb-46a1-bd72-1eb0bf4724f0/Picture7.png Read - Radical Humanism: Velázquez’s Representations of Dwarfs in Philip IV’s Court - Make it stand out Figure 7. Diego Velázquez, St Anthony Abbot and St Paul the Hermit, c. 1635. Oil on Canvas. Museo del Prado, Madrid. https://www.canvasjournal.ca/read/secular-made-sacred-seventeenth-century-sevillian-charity-as-seen-through-bartolom-esteban-murillos-images-of-childhood-at-the-alte-pinakothek monthly 0.5 2026-01-30 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3748c107-9285-4206-a9e6-ead575ad4378/JX_Fig+1.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 1. Bartolomé Esteban Murillo, The Pie Eaters, 1670–1675 Oil on canvas, 123 × 102 cm. Alte Pinakothek, Munich, Germany. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/855709a3-3104-4b75-bcef-7ea9cd85ba63/JX_Fig+2.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 2. Bartolomé Esteban Murillo, The Grape and Melon Eaters, 1645. Oil on canvas, 145.9 x 103.6 cm. Alte Pinakothek, Munich, Germany. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ea3dfcc8-8f74-452a-8761-5d3e25cc5394/JX_Fig+3.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 3. Bartolomé Esteban Murillo, Three Boys Playing Dice, 1675-80. Oil on canvas, 146 x 108.5 cm. Alte Pinakothek, Munich, Germany. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a7439df9-f426-48e3-8ea8-f57bd7dacc99/JX_Fig+4.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 4. Bartolomé Esteban Murillo, Young Fruit Sellers, 1670-75. Oil on canvas, 144.3 x 107.6 cm. Alte Pinakothek, Munich, Germany. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e179b721-4b2b-418f-beeb-bb5420549c44/JX_Fig+5.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 5. Bartolomé Esteban Murillo, Old Woman Delousing a Boy, 1655-60. Oil on canvas, 143.7 x 109 cm. Alte Pinakothek, Munich, Germany. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8f939d2e-bed3-496c-9385-149b8e402277/JX_Fig+6.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 6. Bartolomé Esteban Murillo, Saint Anne teaching the Virgin to read, 1655. Oil on canvas, 219 x 165 cm. Museo del Prado, Madrid, Spain. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3e1a33d2-91b5-4f5a-848b-48907365c2d4/Bartolome+Esteban+Murillo+%28Spanish-SaintThomasVillanueva-Circa+1667.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 7. Bartolomé Esteban Murillo, Saint Thomas of Villanueva Dividing His Clothes Among Beggar Boys, 1667. Oil on canvas, 219.7 x 149.2 cm. Cincinnati Art Museum, Cincinnati, Ohio. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c3fc64b8-17b4-4d43-bb7e-645d5c3abfa5/JX_Fig+8+copy.jpeg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 8. Bartolomé Esteban Murillo, The Infant Saint John the Baptist, 1670. Oil on canvas, 121 x 99 cm. Museo del Prado, Madrid, Spain. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2593c2e5-fe44-454b-bd09-332de33653bd/JX_Fig+9.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 9. Bartolomé Esteban Murillo, The Charity of Saint Thomas of Villanueva, 1665–70. Oil on canvas, 150.2 x 152.6 cm. The Wallace Collection, London, England. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c0dc23ac-2e0d-4347-a538-04f9f54a7aa5/JX_Fig+10.jpg Read - Secular Made Sacred: Seventeenth-Century Sevillian Charity as Seen Through Bartolomé Esteban Murillo’s Images of Childhood at the Alte Pinakothek - Make it stand out Figure 10. Bartolomé Esteban Murillo, Saint Elizabeth of Hungary Curing the Sick, 1672. Oil on canvas, 325 × 245 cm. Church of the Santa Caridad, Seville, Spain https://www.canvasjournal.ca/read/the-stakes-of-diasporic-framing-in-contemporary-asian-art monthly 0.5 2026-01-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1adc7786-a041-4326-a4e8-84c32d685156/Picture1.jpg Read - The Stakes of Diasporic Framing in Contemporary Asian Art - Figure 1: Installation view, Asia/America: Identities in Contemporary Asian American Art, Walker Art Center, Minneapolis, 1995. Photo: Barbara Economon. Fig. 1. Installation view, Asia/America: Identities in Contemporary Asian American Art, Walker Art Center, Minneapolis, 1995. Photo: Barbara Economon. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2736e919-0659-442d-998d-6dd5ad827dd0/diaspora+essay.jpg Read - The Stakes of Diasporic Framing in Contemporary Asian Art - Fig. 2. Yong Soon Min, Photograph of artist’s body with inscriptions from Defining Moments series, 1992. Gelatin silver print, 20 × 16 in. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3e31a7f1-65a7-4b4c-b579-f5d6183f1532/Bontoc+Eulogy+by+Marlon+Fuentes.jpg Read - The Stakes of Diasporic Framing in Contemporary Asian Art - Make it stand out Fig. 3. Marlon Fuentes, film still from Bontoc Eulogy, 1995. https://www.canvasjournal.ca/read/conversations-with-the-moonnbsphow-anishinaabe-artist-caroline-monnet-challenges-settler-time-with-film monthly 0.5 2025-12-04 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7a94872c-3c1d-4021-9370-79f0a3f6c0b5/Figure2.jpg Read - Conversations with the Moon: How Anishinaabe Artist Caroline Monnet Challenges Settler Time with Film - Make it stand out Figure 1. Grandmother Moon comes to Ikwé, from IKWÉ, directed by Caroline Monnet (Winnipeg Film Group, 2009), 0:01:10. https://carolinemonnet.ca/#Ikw%C3%A9https://carolinemonnet.ca/#Ikw%C3%A9. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0d1b5c6e-c661-4e68-aee3-f000f5b71cc4/Figure1.jpg Read - Conversations with the Moon: How Anishinaabe Artist Caroline Monnet Challenges Settler Time with Film - Make it stand out Figure 2. Ikwé lies in a fetal position, from IKWÉ, directed by Caroline Monnet (Winnipeg Film Group, 2009), 00:00:15. https://carolinemonnet.ca/#Ikw%C3%A9https://carolinemonnet.ca/#Ikw%C3%A9. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ddcd4e79-b746-4b1d-8764-91baefe28ac2/Figure3.jpg Read - Conversations with the Moon: How Anishinaabe Artist Caroline Monnet Challenges Settler Time with Film - Make it stand out Figure 3. Ikwé inhabits herself in remembrance, from IKWÉ, directed by Caroline Monnet (Winnipeg Film Group, 2009), 00:02:03. https://carolinemonnet.ca/#Ikw%C3%A9https://carolinemonnet.ca/#Ikw%C3%A9. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/21f0c52c-7b1f-4050-a3df-d3448053c692/Figure4.jpg Read - Conversations with the Moon: How Anishinaabe Artist Caroline Monnet Challenges Settler Time with Film - Make it stand out Figure 4. Collective memory sticks to Ikwé’s body, from IKWÉ, directed by Caroline Monnet (Winnipeg Film Group, 2009), 00:03:05. https://carolinemonnet.ca/#Ikw%C3%A9https://carolinemonnet.ca/#Ikw%C3%A9. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a7f12d62-c989-4178-a639-9d387f4b412e/Figure5.jpg Read - Conversations with the Moon: How Anishinaabe Artist Caroline Monnet Challenges Settler Time with Film - Make it stand out Figure 5. Ikwé begins again, born from herself, from IKWÉ, directed by Caroline Monnet (Winnipeg Film Group, 2009), 00:03:45. https://carolinemonnet.ca/#Ikw%C3%A9https://carolinemonnet.ca/#Ikw%C3%A9. https://www.canvasjournal.ca/read/the-oppositional-gaze-and-the-undoing-of-colonial-optics-dayna-danger-and-nona-faustine monthly 0.5 2026-03-23 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/cb415150-db6d-4825-a44d-7fc883c1be7e/Figure+1.jpeg Read - The Oppositional Gaze and the Undoing of Colonial Optics: Dayna Danger and Nona Faustine - Make it stand out Figure 1. Dayna Danger, Self Portrait, 2019, photograph, 152.4 x 190.5 cm, Art Volt, Montreal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3b205507-a3ab-4ae4-8b63-712f8e4e2b39/Figure+2.jpg Read - The Oppositional Gaze and the Undoing of Colonial Optics: Dayna Danger and Nona Faustine - Make it stand out Figure 2. Nona Faustine, They Tagged the Land with Trophies and Institutions from their Rapes and Conquests, Tweed Courthouse, NYC, 2013, inkjet print photograph, Undercurrent Projects, New York. https://www.canvasjournal.ca/read/the-skin-of-the-orient-representation-of-the-oriental-woman-in-jean-auguste-dominique-ingres-odalisque-enslaved-woman-and-eunuch monthly 0.5 2025-12-03 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3535609b-d498-4368-ba23-01b282389c38/urn-3_HUAM_51355_dynmc-1.jpg Read - The Skin of the Orient: Representation of the “Oriental Woman” in Jean-Auguste Dominique Ingres’ Odalisque, Enslaved Woman, and Eunuch - Make it stand out Figure 1: Jean-Auguste-Dominique Ingres, Odalisque, Enslaved Woman, and Eunuch, 1839-1840. Oil on canvas, 72.1 x 100.3 cm. Harvard Art Museums, Cambridge, Massachusetts. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/86994072-5cbc-4e10-bf90-acd05c94918c/Picture1.jpg Read - The Skin of the Orient: Representation of the “Oriental Woman” in Jean-Auguste Dominique Ingres’ Odalisque, Enslaved Woman, and Eunuch - Make it stand out Figure 2. Jean-Auguste-Dominique Ingres, La petite baigneuse. Intérieur de harem, 1828. Oil on canvas, 35 x 53.5 cm. Musée du Louvre, Paris, France. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2385fd56-ca21-4fc5-b61c-87fb4c9c4dca/Picture1.jpg Read - The Skin of the Orient: Representation of the “Oriental Woman” in Jean-Auguste Dominique Ingres’ Odalisque, Enslaved Woman, and Eunuch - Make it stand out Figure 3. Jean-Baptiste Vanmour, “Fille Turque,” in Recueil de cent estampes representant differentes nations du Levant. Paris: Chez Basan, 1714. https://www.canvasjournal.ca/read/ephemeral-art-with-lasting-impact-pat-mcguires-untitled-drawing-in-understanding-canada-through-art monthly 0.5 2025-11-03 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4301b68f-b411-41f7-96f2-f59040687161/PatMcGuire.jpg Read - “Ephemeral” Art with Lasting Impact: Pat McGuire’s Untitled Drawing in Understanding “Canada” through Art - Make it stand out Figure 1. Pat McGuire, Author’s Personal Photo of Untitled, 1962-70. Ink Paper. The Museum of Anthropology at UBC, 2025. https://www.canvasjournal.ca/read/agnes-martin-robert-rauschenberg-and-the-undefinable-self-the-use-of-the-viewer-in-constructions-of-the-queer-self-through-zen-worldviews monthly 0.5 2025-12-03 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3f6e84f3-69eb-4bb0-9f7b-8e2ebfedd3b0/Robert+Rauschenberg%2C+White+Painting.png Read - Agnes Martin, Robert Rauschenberg, and the Undefinable Self: The Use of the Viewer in Constructions of the Queer Self through Zen Worldviews - Make it stand out Figure 1. Robert Rauschenberg, White Paintings (three panel), 1951, latex paint on canvas, San Francisco Museum of Modern Art, San Francisco. https://www.sfmoma.org/artwork/98.308.A-C/. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/373b03aa-6c9d-42ef-8926-5057fdc02ed5/Agnes+Martin%2C+Night+Sea+%281%29.png Read - Agnes Martin, Robert Rauschenberg, and the Undefinable Self: The Use of the Viewer in Constructions of the Queer Self through Zen Worldviews - Make it stand out Figure 2. Agnes Martin, Night Sea, 1963, crayon, gold leaf, and oil on linen, 6’ x 6’, San Francisco Museum of Modern Art, https://www.sfmoma.org/artwork/FC.459/. https://www.canvasjournal.ca/read/the-house-with-the-ocean-view-isolation-as-a-means-of-resistance-in-the-work-of-marina-abramovi monthly 0.5 2026-03-19 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/89ead3bd-0d6f-4dc7-a866-abf5e831dcea/42650-1024x805.jpg Read - “The House with the Ocean View”: Isolation as a Means of Resistance in the Work of Marina Abramović - Make it stand out Figure 1. Marina Abramović, The House with the Ocean View, living installation, November 15 – 26, 2002, Sean Kelly, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4b2b0c16-c770-4962-9aa3-357a14944b4e/a6d70bd8ba0f2442f5d6f9f1933936e8.jpg Read - “The House with the Ocean View”: Isolation as a Means of Resistance in the Work of Marina Abramović - Make it stand out Figure 2. Detail of ladder in The House with the Ocean View. https://www.canvasjournal.ca/read/timoh-garcias-reimagined-waste-art-et-cologie-and-the-power-of-creative-sustainability-through-street-art monthly 0.5 2025-04-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/444baed9-bc3d-440c-adc4-fffc2957f7bb/Screenshot+2025-04-26+at+10.11.27%E2%80%AFAM.png Read - Timoh Garcia’s Reimagined Waste: “Art et Écologie” and the power of creative sustainability through street art - Make it stand out Figure 1. Timoh Garcia, Montreal Market Food, 2022, acrylic painting on urban materials, 25 x 40 in, L’Original Art Gallery, Montreal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2bef551f-42de-41f7-b4b4-3a9afef47cab/gallea-pelleteuse-boispapier-26x58-tgarciajpg_1578971129_gresized.jpg Read - Timoh Garcia’s Reimagined Waste: “Art et Écologie” and the power of creative sustainability through street art - Make it stand out Figure 2. Timoh Garcia, Excavation, 2020, acrylic painting on urban materials and handmade paper, 23 x 10 in, L’Original Art Gallery, Montreal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/14f95ee4-5ae3-4c3d-aae9-043aa60431c2/Screenshot+2025-04-26+at+10.14.25%E2%80%AFAM.png Read - Timoh Garcia’s Reimagined Waste: “Art et Écologie” and the power of creative sustainability through street art - Make it stand out Figure 3. Timoh Garcia, MTL, 2024, mixed technique on recycled materials, 36 x 36 in, L’Original Art Gallery, Montreal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5000db75-3b3c-41be-8401-44f9db65709c/gallea-rouge1-32x52-tgarciajpg_1578970281.jpg Read - Timoh Garcia’s Reimagined Waste: “Art et Écologie” and the power of creative sustainability through street art - Make it stand out Figure 4. Timoh Garcia, Rouge1, 2019, acrylic painting on urban materials, 13 x 20 in, L’Original Art Gallery, Montreal. https://www.canvasjournal.ca/read/private-ritual-to-public-spectacle-contemporary-perspectives-on-the-rise-of-coquettesnbspcosmetics-and-the-blurring-of-gender-and-class-identities-in-franois-bouchers-toilette-scenes monthly 0.5 2025-03-25 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/495619dc-1996-4085-98f6-57ed84b82e90/Figure+1+La+Toilette.jpg Read - Private Ritual to Public Spectacle: Contemporary Perspectives on the Rise of Coquettes, Cosmetics, and the Blurring of Gender and Class Identities in François Boucher’s Toilette Scenes - Make it stand out Figure 1. François Boucher, La Toilette, 1742, oil on canvas, 52.5 x 66.5 cm, Museo Nacional Thyssen-Bornemisza, Madrid. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/be84011d-0807-4b4d-bac9-e33dd609400e/Figure+2+The+Toilette+of+Venus.jpg Read - Private Ritual to Public Spectacle: Contemporary Perspectives on the Rise of Coquettes, Cosmetics, and the Blurring of Gender and Class Identities in François Boucher’s Toilette Scenes - Make it stand out Figure 2. Boucher, The Toilette of Venus, 1751, oil on canvas, 108.3 x 85.1 cm, The Metropolitan Museum of Art, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/470e159a-c4b4-493e-818a-a2d660b91b6c/Figure+3+Jeanne-Antoinette+Poisson%2C+Marquise+de+Pompadour.jpeg Read - Private Ritual to Public Spectacle: Contemporary Perspectives on the Rise of Coquettes, Cosmetics, and the Blurring of Gender and Class Identities in François Boucher’s Toilette Scenes - Make it stand out Figure 3. Boucher, Jeanne-Antoinette Poisson, Marquise de Pompadour, 1750, oil on canvas, 81.2 x 64.9 cm, Harvard Art Museums, Massachusetts. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/01f0c3fe-2c71-443b-8e4a-5b66ed76e852/Figure+4+Le+rire+de+la+Mee%CC%8Cduse.png Read - Private Ritual to Public Spectacle: Contemporary Perspectives on the Rise of Coquettes, Cosmetics, and the Blurring of Gender and Class Identities in François Boucher’s Toilette Scenes - Make it stand out Figure 4. Flora Yukhnovich, Le rire de la Méduse, 2017, oil on linen, 180 x 250 cm. Accessed at https://www.florayukhnovich.com/. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/aee18348-5b49-4a6f-b1e7-d20f00458ed3/Figure+5+Still+from+Marie+Antoinette.png Read - Private Ritual to Public Spectacle: Contemporary Perspectives on the Rise of Coquettes, Cosmetics, and the Blurring of Gender and Class Identities in François Boucher’s Toilette Scenes - Make it stand out Figure 5. Still from Marie Antoinette (2006), dir. Sofia Coppola. Accessed at: IMDB.com https://www.canvasjournal.ca/read/pgst94k4egzea0iz45wxi6nko1mso2 monthly 0.5 2025-03-19 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2504d073-da78-4b81-a74b-f8535e383ad9/2scene07.jpg Read - Sensing the Past: Early Modern Apothecaries as Proto-Sensoria and their Influence on Contemporary Retail Environments - Make it stand out Figure 1. Unknown artist, The Apothecary’s Shop, c. 1489–1502, fresco, Issogne Castle, Aosta Valley. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c65d30ff-5fde-4dc3-8704-18e797c47d17/Pietro_Longhi_-_The_Apothecary_-_WGA13411.jpg Read - Sensing the Past: Early Modern Apothecaries as Proto-Sensoria and their Influence on Contemporary Retail Environments - Make it stand out Figure 2. Pietro Longhi, The Apothecary, 1752, oil on canvas, Gallerie dell’Accademia, Venice. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ae352a0a-8769-44bc-b604-43062b6724f7/Old_apothecaries%2C_coloured_woodcut%2C_1496_Wellcome_L0029918.jpg Read - Sensing the Past: Early Modern Apothecaries as Proto-Sensoria and their Influence on Contemporary Retail Environments - Make it stand out Figure 3. Unknown artist, Old Apothecaries, 1496, coloured woodcut, Wellcome Collection, London. https://www.canvasjournal.ca/read/haunted-blueprints-unveiling-the-overlook-hotels-role-as-the-most-dynamic-character-in-the-shining monthly 0.5 2025-01-18 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4db21454-6ceb-413e-bf63-e26787ce2991/Screenshot+2025-01-18+at+6.38.47%E2%80%AFPM.png Read - Haunted Blueprints: Unveiling the overlook hotel’s role as the most dynamic character in “The Shining” - Make it stand out Figure 1. “The hallway,” Stanley Kubrick, The Shining, 1980. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/eacc4b05-e844-48b9-b77d-34b85f304c05/Figure+2+-+The+Overlook+Hotel+Facade.jpg Read - Haunted Blueprints: Unveiling the overlook hotel’s role as the most dynamic character in “The Shining” - Make it stand out Figure 2. “The Overlook Hotel Facade,” Stanley Kubrick, The Shining, 1980. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0a8c04c0-d70a-4bb9-bc1e-2773cb65bc0b/Screenshot+2025-01-18+at+6.44.41%E2%80%AFPM.png Read - Haunted Blueprints: Unveiling the overlook hotel’s role as the most dynamic character in “The Shining” - Make it stand out Figure 3. “The Maze,” Stanley Kubrick, The Shining, 1980. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1f119222-0363-47eb-a92d-7660ef0c6d2b/Figure+4+-+Room+237.jpg Read - Haunted Blueprints: Unveiling the overlook hotel’s role as the most dynamic character in “The Shining” - Make it stand out Figure 4. “Room 237,” Stanley Kubrick, The Shining, 1980. https://www.canvasjournal.ca/read/navigating-practicality-and-aesthetics-byzantine-floor-coverings-challenging-our-estrangement-from-late-antique-material-culture monthly 0.5 2025-01-15 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f6b09087-d56f-4349-81be-5d99e95cdd56/Screenshot+2025-01-14+at+9.38.22%E2%80%AFPM.png Read - Navigating Practicality and Aesthetics: Byzantine floor coverings challenging our estrangement from late antique material culture - Make it stand out Figure 1. aaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaa https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5d6dcfcb-eef8-46cb-9899-2fad6a8119a7/images+%281%29.jpg Read - Navigating Practicality and Aesthetics: Byzantine floor coverings challenging our estrangement from late antique material culture - Make it stand out Figure 2.Two-Faced Carpet Fragment, 1100s, possibly Iranian, senna knot, 39.3 x 16.2 cm, The Cleveland Museum of Art. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/47085a9c-8c3c-4dae-b13a-7728eaa6f87a/main-image-7.jpeg Read - Navigating Practicality and Aesthetics: Byzantine floor coverings challenging our estrangement from late antique material culture - Make it stand out Figure 3. Section of a Marble Mosaic Bathhouse Floor, 537-538, Byzantine marble mosaic, 274.3 x 264.2 cm, The Metropolitan Museum of Art, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b65c97ca-9cae-4f20-9caa-5f2b972a69a5/unnamed+%281%29.png Read - Navigating Practicality and Aesthetics: Byzantine floor coverings challenging our estrangement from late antique material culture - Make it stand out Figure 4. Detail of Mosaic Pavement, Roman, 2nd-3rd century A.-D., previously at the Lateran Museum, Rome. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e64df5ee-2755-4edc-9948-ccf14266bd68/unnamed-2.png Read - Navigating Practicality and Aesthetics: Byzantine floor coverings challenging our estrangement from late antique material culture - Make it stand out Figure 5. Mosaic Floor with Running “Carpet” Pattern, 8th century, Khirbat al-Mafjar, Jordan Valley, near Jericho, Hisham’s Palace. Image credit: Ḥ. Tāhā and D. Whitcomb (Oriental Institute of the University of Chicago, 2015). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5754220b-17ad-4fb4-b4c2-cc72ea758d75/unnamed-3.png Read - Navigating Practicality and Aesthetics: Byzantine floor coverings challenging our estrangement from late antique material culture - Make it stand out Figure 6. Floor Mosaic from Dīwān, 8th century, Khirbat al-Mafjar, Jordan Valley, near Jericho. Image credit: Harvard Fine Arts Library, Digital Images and Slides Collection (1997), 14642. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4e2c787c-33ef-46e5-8820-6bff919a2cf4/unnamed-4.png Read - Navigating Practicality and Aesthetics: Byzantine floor coverings challenging our estrangement from late antique material culture - Make it stand out Figure 7. Excavation Photo of a 5th-Century Floor Mosaic with Trellis Pattern from Antioch, 1938, Syria, 515.6 × 261.6 cm. Image credit: Dumbarton Oaks Research Library and Collection, Byzantine Collection, Washington, DC. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0f1dd746-a8a0-4b88-8136-2860a67eaa85/unnamed-5.png Read - Navigating Practicality and Aesthetics: Byzantine floor coverings challenging our estrangement from late antique material culture - Make it stand out Figure 8. Reconstruction of the “Carpet Fragment with Mosaic Floor Pattern,” drawn by Lindsay Hall. https://www.canvasjournal.ca/read/cybernetic-guerillas-engagement-of-the-ejrcito-zapatista-de-liberacin-nacional-withnbspculture-jammingnbsp monthly 0.5 2024-12-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8b205734-e44e-4071-ba10-1f1dcb21a95f/001DuritoI.jpg Read - “Cybernetic Guerillas”: Engagement of the Ejército Zapatista de Liberación Nacional with “Culture Jamming”  - Make it stand out Figure 1. John Dolley, Story of Durito and Neoliberalism (artwork © 2005 Autonomedia, New York). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/692b0993-1763-47e7-b7cd-ed9d7b9ec0b8/Screenshot+2024-12-03+at+2.04.50%E2%80%AFPM.png Read - “Cybernetic Guerillas”: Engagement of the Ejército Zapatista de Liberación Nacional with “Culture Jamming”  - Make it stand out Figure 2. Electronic Disturbance Theatre, FloodNet, 1998, screenshot (artwork © Electronic Disturbance Theatre) https://www.canvasjournal.ca/read/decay-and-desirenbspanalyzing-queer-narratives-in-alvin-baltrops-the-piers-1975-86 monthly 0.5 2024-12-03 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d053c12a-be13-482c-aa4b-60f1897bd36a/Screenshot+2024-12-03+at+1.49.49%E2%80%AFPM.png Read - Decay and Desire: Analyzing queer narratives in Alvin Baltrop’s “The Piers” (1975-86) - Make it stand out Figure 1. Baltrop, Alvin. Untitled (from The Piers series), 1975-86, black and white photograph. In Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present. Museo Nacional Centro de Arte Reina Sofía, 2010, plate 44. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2c8bd20c-381d-4b20-8ff6-bad5eebccef4/TR15968_6_RICR-Press+Site.jpg Read - Decay and Desire: Analyzing queer narratives in Alvin Baltrop’s “The Piers” (1975-86) - Make it stand out Figure 2. Baltrop, Alvin. Untitled (from The Piers series), 1975-86., black and white photograph. In Alvin Baltrop: The Piers, TF Editores, 2015. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/87bb1024-5b5d-4c5f-b92b-f9ae9e98db03/Screenshot+2024-12-03+at+1.50.00%E2%80%AFPM.png Read - Decay and Desire: Analyzing queer narratives in Alvin Baltrop’s “The Piers” (1975-86) - Make it stand out Figure 3. Baltrop, Alvin. Untitled (from The Piers series), 1975-86., black and white photograph. In Alvin Baltrop: The Piers, TF Editores, 2015. https://www.canvasjournal.ca/read/commodifying-fibre-and-flesh-guinea-cloth-and-the-dutch-slave-trade monthly 0.5 2024-11-23 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e0be109d-11e8-4c44-ac02-ef6f2241f4d7/Figure+1.jpg Read - Commodifying Fibre and Flesh: Guinea Cloth and the Dutch Slave Trade - Make it stand out Fig. 1: Albert Eckhout, African Woman and Child, 1641. Oil on canvas, 282 x189 cm. National Museum of Denmark, Copenhagen. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/72530f30-24bc-4da5-b409-b56fb6bba964/Figure+6.jpeg Read - Commodifying Fibre and Flesh: Guinea Cloth and the Dutch Slave Trade - Make it stand out Fig. 2: Page from Sample Book from Danish Guinea, 1727. The Danish National Archives, Vestindisk-Guineisk Kompagni, Direktionen, Breve og dokumenter fra Guinea, 1722-1731, (85-1). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/404fb248-1eb2-4a2c-b072-0972f1935732/Figure+2.jpg Read - Commodifying Fibre and Flesh: Guinea Cloth and the Dutch Slave Trade - Make it stand out Fig. 3: Albert Eckhout, African Man, 1641. Oil on canvas, 273 x 167 xm. National Museum of Denmark, Copenhagen. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/35b2499d-1273-45ed-b3e8-7c267e6734d5/Figure+3.jpeg Read - Commodifying Fibre and Flesh: Guinea Cloth and the Dutch Slave Trade - Make it stand out Fig. 4: Zacharias Wagner, Molber Negra, plate 98 from Thier-Buch, 1641. Watercolour on paper. Private collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/dead8e2c-b2ce-4a8e-be95-5e700f909c7c/Figure+4.JPG Read - Commodifying Fibre and Flesh: Guinea Cloth and the Dutch Slave Trade - Make it stand out Fig. 5: Zacharias Wagner, Omem Negro, plate 97 from Thier-Buch, 1641. Watercolour on paper. Private collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/76012e7f-1ee0-42c8-bacd-3db70376a960/Figure+5.jpg Read - Commodifying Fibre and Flesh: Guinea Cloth and the Dutch Slave Trade - Make it stand out Fig. 6: Zacharias Wagner, Slaves Carrying a Covered Hammock, plate 104 from Thier-Buch, 1641. Watercolour on paper. Private collection. https://www.canvasjournal.ca/read/a-postmodern-defamiliarization-from-time-in-hiroshi-sugimotos-theaters monthly 0.5 2024-11-18 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5be6dd8d-039d-4682-b225-cce6f91ecee2/Hiroshi+Sugimoto%2C+Akron+Civic%2C+Ohio%2C+1980.+Gelatin+silver+print.jpg Read - A Postmodern Defamiliarization from Time in Hiroshi Sugimoto’s “Theaters” - Make it stand out Figure 1. Hiroshi Sugimoto, Akron Civic, Ohio, 1980, gelatin silver print, the Art Institute of Chicago, Chicago. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5df13a0b-4569-4d7a-8ed3-d2febaf04b4a/Hiroshi+Sugimoto%2C+Metropolitan+L.A.%2C+Los+Angeles%2C+1993%2C+Gelatin+silver+print.jpg Read - A Postmodern Defamiliarization from Time in Hiroshi Sugimoto’s “Theaters” - Make it stand out Figure 2. Hiroshi Sugimoto, Metropolitan L.A., Los Angeles, 1993, gelatin silver print, private collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/dcc57fd1-b884-4056-88c8-efc2cf7f1ff4/Hiroshi+Sugimoto%2C+Ohio+Theatre%2C+Columbus+Ohio%2C+1980%2C+Gelatin+silver+print%5B1%5D.jpg Read - A Postmodern Defamiliarization from Time in Hiroshi Sugimoto’s “Theaters” - Make it stand out Figure 3. Hiroshi Sugimoto, Ohio Theatre, Columbus Ohio, 1980, gelatin silver print, Fraenkel Gallery, San Francisco. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2ac81540-2249-4c56-82b5-6dc914ab356a/Orpheum+Theatre.jpg Read - A Postmodern Defamiliarization from Time in Hiroshi Sugimoto’s “Theaters” - Make it stand out Figure 4. Mike Hume, Auditorium from Balcony Left, 2017, colour photograph. https://www.canvasjournal.ca/read/fath-ali-shh-at-the-hunt-and-on-the-ceiling-visual-reappropriations-from-qajar-iran-to-modern-india monthly 0.5 2024-11-14 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/849757d7-cacc-4a74-89ac-b6bd14a283f0/1.jpg Read - “Fath ‘Ali Shāh at the Hunt” and on the Ceiling: Visual reappropriations from Qajar Iran to modern India - Make it stand out Figure 1. Attributed to Mihr ‘Ali, Fath ‘Ali Shāh at the Hunt with Twenty-two Sons, oil on canvas, c. 1810, Rashtrapati Bhavan, New Delhi. In Persian Paintings in the India Office Library: A Descriptive Catalogue (Sotheby Parke Bernet, 1976). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b629eeff-3375-40f9-a959-d26e42c73e27/2.jpeg Read - “Fath ‘Ali Shāh at the Hunt” and on the Ceiling: Visual reappropriations from Qajar Iran to modern India - Make it stand out Figure 2. Photographer unknown, Mural of “Fath ‘Ali Shah and Twelve Sons, c. nineteenth century, salt print, Brooklyn Museum, New York City. In Diba, “An Encounter between Qajar Iran and the West.” https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6ad06c18-fdee-4326-b343-cbd4dfc88771/3Upper.jpeg Read - “Fath ‘Ali Shāh at the Hunt” and on the Ceiling: Visual reappropriations from Qajar Iran to modern India - Make it stand out Figure 3. William Walcott, Impression of the State Ballroom, watercolour, 1913. In Partha Mitter et. al, The Arts and Interiors of Rashtrapati Bhavan: Lutyens and Beyond (Publications Division, Government of India, 2016). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/daea2068-7bda-46d4-beeb-e842bfeee9bf/3Lower.jpeg Read - “Fath ‘Ali Shāh at the Hunt” and on the Ceiling: Visual reappropriations from Qajar Iran to modern India - Make it stand out Figure 4. Ashoka Hall today, Rashtrapati Bhavan, New Delhi. In Persian Paintings in the India Office Library. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d925391c-b82d-40dd-84aa-d50992183c8b/4.jpeg Read - “Fath ‘Ali Shāh at the Hunt” and on the Ceiling: Visual reappropriations from Qajar Iran to modern India - Make it stand out Figure 5. Tomasso Colonnello, Fath ‘Ali Shāh at the Hunt with Twenty-two Sons and surrounding program, oil on canvas, 1933. In Persian Paintings in the India Office Library. https://www.canvasjournal.ca/read/fashioning-holland-the-hidden-language-of-clothing-in-seventeenth-century-dutch-portraiture monthly 0.5 2024-11-13 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3fdd5069-e607-4df8-b211-475820350859/Frans+Hals+.+Portrait+of+Willem+van+Heythuysen+1.jpg Read - Fashioning Holland: The hidden language of clothing in seventeenth-century Dutch portraiture - Make it stand out Figure 1. Frans Hals, Portrait of Willem van Heythuysen, oil painting, c. 1625, Alte Pinakothek, Munich. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/928da925-7359-4405-9372-2a8bb2b1d0de/De+Witte+.+Family+Portrait+1+%281%29.jpg Read - Fashioning Holland: The hidden language of clothing in seventeenth-century Dutch portraiture - Make it stand out Figure 4. Emanuel de Witte, Portrait of a Family in an Interior, oil painting, 1678, Bavarian State Painting Collections, Munich. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a070946b-6e8c-47fe-a2c8-3d54540c175c/Hals+.+Portrait+of+Aletta+Hanemans+1.jpg Read - Fashioning Holland: The hidden language of clothing in seventeenth-century Dutch portraiture - Make it stand out Figure 2. Frans Hals, Portrait of Aletta Hanemans, oil painting, 1625, Mauritshuis, Den Haag. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8f6c3e33-9589-48dd-b782-5f2666e15604/Hals+.+Portrait+of+Jacob+Olycan+1.jpg Read - Fashioning Holland: The hidden language of clothing in seventeenth-century Dutch portraiture - Make it stand out Figure 3. Frans Hals, Portrait of Jacob Olycan, oil painting, 1625, Mauritshuis, Den Haag. https://www.canvasjournal.ca/read/the-tiny-and-the-curious-the-seventeenth-century-dutch-dollhouse-as-the-feminine-cabinet-of-curiosity monthly 0.5 2024-11-11 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3e5904ba-f402-4e61-ac5d-24c00e579fab/fig+1+%28oortman+dollhouse%29.jpg Read - The Tiny and the Curious: The seventeenth-century Dutch dollhouse as the feminine cabinet of curiosity - Make it stand out Figure 1. Various makers, The dollhouse of Petronella Oortman, various materials, c. 1686-1710, 255 × 190 × 78cm, Rijksmuseum, Amsterdam, https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/88571e43-c446-4b1e-b91f-a774adc2f5f5/fig+2+%28de+la+court+dollhouse%29.jpg Read - The Tiny and the Curious: The seventeenth-century Dutch dollhouse as the feminine cabinet of curiosity - Make it stand out Figure 2. Various makers, The dollhouse of Petronella de la Court, various materials, c. 1670-90, 206.5 x 189 x 79 cm, Centraal Museum, Utrecht. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b597fcc6-f3a4-48d4-873f-c561c5d389ad/fig+3+%28de+la+court+kunstkamer%29.jpeg Read - The Tiny and the Curious: The seventeenth-century Dutch dollhouse as the feminine cabinet of curiosity - Make it stand out Figure 3. Kunstkamer in The dollhouse of Petronella de la Court. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/9489a76a-76c0-4f5e-a6d5-583f3b8d3402/fig+4+%28kunstkamer+cabinet%29.jpeg Read - The Tiny and the Curious: The seventeenth-century Dutch dollhouse as the feminine cabinet of curiosity - Make it stand out Figure 4. Dresser from the kunstkamer in The dollhouse of Petronella de la Court. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8fbaefcc-cc21-4161-8802-dcdc6cf25efd/fig+5+%28cabinet+drawer%29.jpeg Read - The Tiny and the Curious: The seventeenth-century Dutch dollhouse as the feminine cabinet of curiosity - Make it stand out Figure 5. Drawer of shells from kunstkamer dresser (Fig. 4) in The dollhouse of Petronella de la Court. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/76da043a-baf8-4fc1-9a7a-cba42ccddb7b/fig+6+%28de+la+court+linen+room%29.png Read - The Tiny and the Curious: The seventeenth-century Dutch dollhouse as the feminine cabinet of curiosity - Make it stand out Figure 6. Linen room in The dollhouse of Petronella de la Court. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0328b1d0-9d64-4f84-89a9-f6484b60d6c0/fig+7+%28dunois+linen+room%29.png Read - The Tiny and the Curious: The seventeenth-century Dutch dollhouse as the feminine cabinet of curiosity - Make it stand out Figure 7. Various makers, linen room in The dollhouse of Petronella Dunois, various materials, c. 1676, Rijksmuseum, Amsterdam. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1561e3ba-3aff-4b23-bbc3-07f17c133d15/fig+8+%28oortman+linen+room%29.png Read - The Tiny and the Curious: The seventeenth-century Dutch dollhouse as the feminine cabinet of curiosity - Make it stand out Figure 8. Linen room in The dollhouse of Petronella Oortman. https://www.canvasjournal.ca/read/an-interview-with-mcgills-visual-arts-collection monthly 0.5 2024-10-19 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/28f043ba-36ea-4ca2-89e1-11e9cb2fe428/Sophie+Becquet+taking+a+portrait+photograph+of+Gwendolyn+Owens+in+the+Visible+Storage+Gallery.jpeg Read - An Interview with McGill’s Visual Arts Collection - Make it stand out Sophie Becquet taking a portrait photograph of Director Gwendolyn Owens in the Visible Storage Gallery on the fourth floor of the McLennan Library https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/02856b5f-1891-4f75-bd1f-1b287988d46c/Michelle+MacLeod+giving+a+tour+of+New+Chancellor+Day+Hall.jpeg Read - An Interview with McGill’s Visual Arts Collection - Make it stand out Dr. Macleod giving a tour of the New York City Alumni Lobby on the third floor of New Chancellor Day Hall https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b47850cd-bbb0-4e9a-a883-aca35de4d423/Sophie+Becquet%2C+Hugo+Barsacq-Camard%2C+and+Julia+Widing+setting+up+%2522Bead+Paint+Carve%2522.JPG Read - An Interview with McGill’s Visual Arts Collection - Make it stand out Sophie Becquet, Hugo Barsacq-Camard, and Julia Widing preparing the “BEAD PAINT CARVE” exhibition in the McLennan Library lobby Artwork credit: Alashua Aningmiuq, “Quintet,” 1967, stone-cut print, 59 x 81 cm. McGill Visual Arts Collection, 1997-029. Gift of the McGill class of 1941 to mark 25th anniversary graduation. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/72efac93-e4e4-4eb8-86e7-f9d91b1baac9/Jessica+Re%CC%81gimbald+doing+conservation+work+on+a+tapestry.jpg Read - An Interview with McGill’s Visual Arts Collection - Make it stand out Jessica Régimbald doing conservation work on a tapestry Artwork credit: Mariette Rousseau-Vermette, “Vertical Stripes,” 1968, wool tapestry with metal poles, 243 x 213 cm. McGill Visual Arts collection, 1997-029. Gift of the McConnell Family Foundation. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4a18d454-5e6f-43dd-81f7-a69e9877c8f3/Michelle+MacLeod%2C+Julia+Widing%2C+Sophie+Becquet%2C+and+Hugo+Barsacq-Camard+after+setting+up+%2522Bead+Paint+Carve%2522.JPG Read - An Interview with McGill’s Visual Arts Collection - Make it stand out Dr. Macleod, Julia Widing, Sophie Becquet, and Hugo Barsacq-Camard after setting up the “BEAD PAINT CARVE” exhibition in the McLennan Library lobby https://www.canvasjournal.ca/read/the-impossibilities-of-life-and-the-impossibilities-of-death-liminality-identity-and-cyclical-violence-in-menace-ii-society monthly 0.5 2024-04-25 https://www.canvasjournal.ca/read/understanding-the-mfa-short-story-as-a-capitalist-catalyst monthly 0.5 2025-02-14 https://www.canvasjournal.ca/read/tensions-in-time-crypto-art-and-temporality monthly 0.5 2024-03-26 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/aa723fa6-eda7-4da5-8d05-ac0653930a04/Everydays%2C_the_First_5000_Days.jpg Read - Tensions in Time: Crypto Art and Temporality - Make it stand out Figure 1. Beeple, Everydays: The First 5,000 Days, 2021. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3508a7ef-3cb2-48b6-a8e6-9c17873edd8a/Screenshot+2024-03-26+at+1.07.21%E2%80%AFPM.png Read - Tensions in Time: Crypto Art and Temporality - Make it stand out Figure 2. Beeple, Everydays: The First 5,000 Days, upper left panels (top image) lower right panels (bottom image), 2021. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1f96cd68-5838-4875-ab74-3050bbe29cc6/Screenshot+2024-03-26+at+1.16.36%E2%80%AFPM.png Read - Tensions in Time: Crypto Art and Temporality - Make it stand out Figure 3. Luna Ikuta, Remember Me, (tulips depicted during “Life” phase), 2022. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e89593c2-014e-486c-952b-f8bac86c4639/Screenshot+2024-03-26+at+4.10.58%E2%80%AFPM.png Read - Tensions in Time: Crypto Art and Temporality - Make it stand out Figure 4. Luna Ikuta, Remember Me, (tulip phases of “Birth,” “Life,” “Afterlife,” and “Memory”), 2022. https://www.canvasjournal.ca/read/music-as-the-mediator-of-love-and-sexual-endeavours-seventeenth-century-depictions-of-women-in-domestic-and-public-spaces monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2a2e2183-d555-4313-91fb-457ce79cf980/Johannes_Vermeer_-_Lady_at_the_Virginal_with_a_Gentleman%2C_%27The_Music_Lesson%27_-_Google_Art_Project.jpg Read - Music as the Mediator of Love and Sexual Endeavours: Seventeenth-Century Depictions of Women in Domestic and Public Spaces - Make it stand out Figure 1. Johannes Vermeer, The Music Lesson, c. 1662-1664, National Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/525d5c2a-fe9a-4495-aef9-f69c960adeae/unnamed.png Read - Music as the Mediator of Love and Sexual Endeavours: Seventeenth-Century Depictions of Women in Domestic and Public Spaces - Make it stand out Figure 1a. Detail of Johannes Vermeer, The Music Lesson. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7cf3ff7e-58c8-414d-9c87-2632a1d9fa10/unnamed-2.png Read - Music as the Mediator of Love and Sexual Endeavours: Seventeenth-Century Depictions of Women in Domestic and Public Spaces - Make it stand out Figure 1b. Detail of Johannes Vermeer, The Music Lesson. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3a23993d-ef1d-4001-ae60-ce0d1512e228/Vermeer_The_concert.JPG Read - Music as the Mediator of Love and Sexual Endeavours: Seventeenth-Century Depictions of Women in Domestic and Public Spaces - Make it stand out Figure 5. Johannes Vermeer, The Concert, c. 1663-1666. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c1552421-fdf9-4f1b-a562-6589a731b1a1/Dirck_van_Baburen_-_The_Procuress_-_Google_Art_Project.jpg Read - Music as the Mediator of Love and Sexual Endeavours: Seventeenth-Century Depictions of Women in Domestic and Public Spaces - Make it stand out Figure 4. Dirck van Baburen, Procuress, c. 1622, Museum of Fine Arts, Boston. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f42d7d5f-534a-4094-a918-1e2752e89b4c/Lady_Seated_at_a_Virginal%2C_Vermeer%2C_The_National_Gallery%2C_London.jpg Read - Music as the Mediator of Love and Sexual Endeavours: Seventeenth-Century Depictions of Women in Domestic and Public Spaces - Make it stand out Figure 2. Johannes Vermeer, Lady Seated at a Virginal, c. 1670-1675, National Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b9baa3ba-3dea-403e-8b78-473be72e3038/Jan_Vermeer_van_Delft_-_Lady_Standing_at_a_Virginal_-_National_Gallery%2C_London.jpg Read - Music as the Mediator of Love and Sexual Endeavours: Seventeenth-Century Depictions of Women in Domestic and Public Spaces - Make it stand out Figure 6. Johannes Vermeer, Lady Standing at a Virginal c. 1670-1675, National Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/67ec3f46-0e87-4a1f-864d-03319d56f170/Jacob_Ochtervelt_-_Musical_Company_in_an_Interior_-_WGA16621.jpg Read - Music as the Mediator of Love and Sexual Endeavours: Seventeenth-Century Depictions of Women in Domestic and Public Spaces - Make it stand out Figure 3. Jacob Ochtervelt, Musical Company in an Interior, c. 1670, Museum of Art, Cleveland. https://www.canvasjournal.ca/read/enacted-landscapesnbspsmi-naturecultures-in-contemporary-duodji monthly 0.5 2024-02-06 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c1ca93cf-b869-4879-9072-5216004b0bcd/OP18_Cuolmmadit_pan4-3000x1420.jpg Read - Enacted Landscapes: Sámi Naturecultures in Contemporary Duodji - Make it stand out Figure 1. Outi Pieski, Čohkiideapmi (Falling Shawls), 2017, shawl thread and steel, London Southbank Centre, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/765c5847-b03b-49bf-a928-29135983b2f0/Azure_Joar-Nango_Laavu.jpg Read - Enacted Landscapes: Sámi Naturecultures in Contemporary Duodji - Make it stand out Figure 2. Joar Nango, Sámi Shelters #1-5, 2009-2014, wool, exhibited in travelling exhibition Among All These Tundras, Concordia’s Leonard and Bina Ellen Art Gallery, Montreal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/69e737ad-8934-4c48-9a61-b77e45ab3945/wuDRF4lluaWqgzzilgU1KKGY2E5cDBWc49ncMbxSaZT7DHNdCT_Nmm75eqnWtWKcXt_H3NK_S361hGJxmm6QQuIt4KxagUfN_SPupbNxetsMXKHZoHbIQky2xz94dgyvV.png Read - Enacted Landscapes: Sámi Naturecultures in Contemporary Duodji - Make it stand out Figure 3. Joar Nango, Sámi Shelters #1-5, 2009-2014, wool and wire hangers, exhibited at Tensta Konsthall, Stockholm. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/991dde2e-a56d-4ead-925b-f0bed2718b48/outi-pieski_3200x1800-5.jpg Read - Enacted Landscapes: Sámi Naturecultures in Contemporary Duodji - Make it stand out Figure 4. Outi Pieski wearing traditional Sámi dress (including a shawl). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/16c355dc-2fd6-4a0e-bb09-0104ecf67a68/OP18_Cuolmmadit_0352.jpg Read - Enacted Landscapes: Sámi Naturecultures in Contemporary Duodji - Make it stand out Figure 5. Outi Pieski, Čohkiideapmi (Falling Shawls), 2017, shawl thread and steel, London Southbank Centre, London, UK. https://www.canvasjournal.ca/read/attracting-a-buyer-with-motion-examining-de-keysers-use-of-pose-in-portraiture monthly 0.5 2024-01-29 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ea77dea0-04ab-4b7b-9f7d-0adfde7df701/A_Musician_and_His_Daughter_MET_DP145937.jpg Read - Attracting a Buyer with Motion: Examining de Keyser’s Use of Pose in Portraiture - Make it stand out Figure 1. Thomas de Keyser, A Musician and His Daughter, 1629, oil on wood, 74.9 x 52.7 cm, Metropolitan Museum of Art, New York City. https://www.canvasjournal.ca/read/divine-transformation-reconfiguring-kalis-feminist-iconography-in-contemporary-western-art monthly 0.5 2025-03-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/68ee9bfe-7fc4-4968-b10b-facc2959ce61/Picture1.png Read - Divine Transformation: Reconfiguring Kali’s Feminist Iconography in Contemporary Western Art - Make it stand out Figure 1: Tantra Art: Rajasthan Goddess Kali Triumphant on Battlefield, gouache, 18th c., Artstor Slide Collection https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/aba0616a-f637-4fb3-8f03-187d728592b2/Picture1.jpg Read - Divine Transformation: Reconfiguring Kali’s Feminist Iconography in Contemporary Western Art - Make it stand out Figure 2: Indian, Kali, Poster, Bard College: Richard Davis God Poster Collection https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/60d59b77-f34e-41e6-9945-b838e775b1e5/Picture1.jpg Read - Divine Transformation: Reconfiguring Kali’s Feminist Iconography in Contemporary Western Art - Make it stand out Figure 3: Kaushik Ghosh, Murti, Calcutta, India, 2022, The British Museum https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c6735d9b-9678-41a0-b89b-8c03b64036f4/Picture1.jpg Read - Divine Transformation: Reconfiguring Kali’s Feminist Iconography in Contemporary Western Art - Make it stand out Figure 4: Judy Chicago (American, b. 1939). The Dinner Party (Kali place setting), 1974–79. Mixed media: ceramic, porcelain, textile. Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation, 2002.10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2c7e5978-d6a5-481d-9cdd-df5545a88243/Picture1.jpg Read - Divine Transformation: Reconfiguring Kali’s Feminist Iconography in Contemporary Western Art - Make it stand out Figure 5: Veda Jewelers, Kali Necklace, 2023, Etsy https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f8f772eb-b020-4186-9f9d-57f39d65347e/Picture1.jpg Read - Divine Transformation: Reconfiguring Kali’s Feminist Iconography in Contemporary Western Art - Make it stand out Figure 6: Luciana Hartwin, Kali, Goddess of Rebirth and Destruction and Transformation, 2023, Etsy https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f5b3de7c-336f-4ecb-acbd-6e8f114e4cf3/Picture1.png Read - Divine Transformation: Reconfiguring Kali’s Feminist Iconography in Contemporary Western Art - Make it stand out Figure 7: Kali Image, 2017, Posted to Katy Perry’s Instagram Account https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/02174fd0-cc6f-4c95-a97f-0c9cfd5f9979/Picture1.jpg Read - Divine Transformation: Reconfiguring Kali’s Feminist Iconography in Contemporary Western Art - Make it stand out Figure 8: Leena Manimekalai, Kaali Movie Poster, 2022, Aga Khan Museum https://www.canvasjournal.ca/read/small-bronze-sirens-of-renaissance-venicenbspnbspa-feminist-critique-on-the-fetishization-of-the-mermaid monthly 0.5 2023-11-23 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6e47bae7-d9cb-4a8a-aa16-4e9b40fef577/image.png Read - Small Bronze Sirens of Renaissance Venice: A Feminist Critique on the Fetishization of the Mermaid - Make it stand out Figure 1. Severo da Ravenna, Double candlestick with Siren, c. 1510-1530, bronze, 28.3cm, Ashmolean Museum, Oxford. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/06abcf51-3bb7-4428-ba4d-72a859486c39/image-2.png Read - Small Bronze Sirens of Renaissance Venice: A Feminist Critique on the Fetishization of the Mermaid - Make it stand out Figure 2. Attributed to a Florentine or Sienese follower of Donatello (formally attributed to Vecchietta), Fortuna, c. 1450/1475, bronze. National Gallery of Art, Washington, Samuel H. Kress Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/faa851e8-80a8-4a9f-9b6c-016fc0407f9a/image-3.png Read - Small Bronze Sirens of Renaissance Venice: A Feminist Critique on the Fetishization of the Mermaid - Make it stand out Figure 3. North Italian, c. 1213, Siren, detail of mosaic pavement, Ravenna, San Giovanni Evangelista. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f22f5580-7861-464d-8198-f47d8e166884/image-5.png Read - Small Bronze Sirens of Renaissance Venice: A Feminist Critique on the Fetishization of the Mermaid - Make it stand out Figure 4. Severo da Ravenna, Sea-Monster, ca. 1510, bronze, 4 ½ x 9 ¾ x 6 ¾ in (11.4 x 24.8 x 17.1 cm). The Frick Collection, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/cf0e7dd7-37a1-4313-96e1-52129901e47e/image-6.png Read - Small Bronze Sirens of Renaissance Venice: A Feminist Critique on the Fetishization of the Mermaid - Make it stand out Figure 5. Possibly attributed to Severo da Ravenna, Inkwell in the form of a crab, 16th century, bronze, 7 x 18 x 13cm (2¾ by 7⅛ by 5¼ in). Private collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1700763410865-JNW6836EAKU8502WSX2Y/Screen+Shot+2023-11-23+at+1.16.26+PM.png Read - Small Bronze Sirens of Renaissance Venice: A Feminist Critique on the Fetishization of the Mermaid https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1700763241310-8GZ8PVQA6QCRZOJCTZXJ/Screen+Shot+2023-11-23+at+1.09.33+PM.png Read - Small Bronze Sirens of Renaissance Venice: A Feminist Critique on the Fetishization of the Mermaid https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/dd4f4c88-cd30-476f-ab24-46564fa73f13/1977.537+-+Candelabrum+in+the+Shape+of+a+Siren.jpg Read - Small Bronze Sirens of Renaissance Venice: A Feminist Critique on the Fetishization of the Mermaid - Make it stand out Figure 8. Severo da Ravenna, Candelabra in the Shape of a Siren, c. 1515-1525, bronze, 27.5 × 17 × 16.5 cm (10 7/8 × 6 11/16 × 6 1/2 in.), The Art Institute of Chicago, Chicago. https://www.canvasjournal.ca/read/marveling-in-terror-violence-materiality-and-salvation-in-titians-1576-saint-sebastian monthly 0.5 2023-11-07 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/11b19bf7-10cc-466c-8a02-d8818112c38b/SCALA_ARCHIVES_10313879073.jpg Read - Marveling in Terror: Violence, Materiality and Salvation in Titian’s 1576 Saint Sebastian - Make it stand out Figure 1. Titian, Saint Sebastian, oil on canvas, 1576, State Hermitage Museum, Saint Petersburg, Russia. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/30a6de0f-834d-47cf-94a9-efc4e8d55a39/%21saintpetermartyr.jpeg Read - Marveling in Terror: Violence, Materiality and Salvation in Titian’s 1576 Saint Sebastian - Make it stand out Figure 2. Titian, The Death of Saint Peter Martyr, oil on panel, 1528-1529, destroyed. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/839b0011-12d6-4d17-96a3-675ac27afccb/SCALA_ARCHIVES_10310841184.jpg Read - Marveling in Terror: Violence, Materiality and Salvation in Titian’s 1576 Saint Sebastian - Make it stand out Figure 3. Unknown Roman artist, Apollo Belvedere, white marble, 120-140 AD, Pio-Clementino Museum, Vatican City, Italy. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5ea63812-bf87-4641-8bc9-1f8a97089689/SCALA_ARCHIVES_1039779613.jpg Read - Marveling in Terror: Violence, Materiality and Salvation in Titian’s 1576 Saint Sebastian - Make it stand out Figure 4. Agesander, Athenodoros, and Polydorus, Laocoön and his Sons, marble, 72 BC-68 AD, Pio-Clementino Museum, Vatican City, Italy. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/50c69c33-3652-4369-977d-b78c3425089e/Untitled.jpg Read - Marveling in Terror: Violence, Materiality and Salvation in Titian’s 1576 Saint Sebastian - Make it stand out Figure 5. X-Ray of Titian’s Saint Sebastian, State Hermitage Museum, Saint Petersburg, Russia. https://www.canvasjournal.ca/read/pleasure-and-parody-in-the-harem-elisabeth-jerichau-baumanns-encounter-with-princess-nazli-hanim monthly 0.5 2025-03-11 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b957e35c-a6a1-4bcd-bf8c-e097f64f9b7a/Baumann+Princess.jpeg Read - Pleasure and Parody in the Harem: Elisabeth-Jerichau Baumann’s encounter with Princess Nazli Hanim - Make it stand out Figure 1. Elisabeth Jerichau-Baumann, The Princess Nazli Hanum, 1875, oil on canvas, private collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e1721a8a-cf6b-4303-a6d8-c05a42cd9256/Nazli+Carte+de+Visite.png Read - Pleasure and Parody in the Harem: Elisabeth-Jerichau Baumann’s encounter with Princess Nazli Hanim - Make it stand out Figure 2. P. Sébah, Princess Nazlı Hanım, n.d, carte de visite, private collection, Denmark. In Nazlı's photographic games, by Mary Roberts, Plate 1, Patterns of Prejudice 48, no. 5, 2014. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8fc4bcd4-ad02-4e82-bdb4-9b4fafc1363d/Nazli+Dyptch.png Read - Pleasure and Parody in the Harem: Elisabeth-Jerichau Baumann’s encounter with Princess Nazli Hanim - Make it stand out Figure 3. Photographer unknown, Princess Nazlı Hanım, n.d, two photographs, Staffordshire Records Office. In Nazlı's photographic games, by Mary Roberts, Plate 6, Patterns of Prejudice 48, no. 5, 2014. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ccd2b6ef-e0e3-4edf-b381-e02ce8108a25/Baumann+Pottery+Seller.jpeg Read - Pleasure and Parody in the Harem: Elisabeth-Jerichau Baumann’s encounter with Princess Nazli Hanim - Make it stand out Figure 4. Elisabeth Jerichau-Baumann, An Egyptian Pottery Seller at Gizeh, 1876-78, oil on canvas, National Gallery of Denmark, København. https://www.canvasjournal.ca/read/oligarchal-penology monthly 0.5 2023-03-05 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/433ec5fe-56cc-4da0-ad1f-f18480e26a91/image1.jpeg Read - Early Oligarchal Penology: The Amsterdam Rasphuis as a Built Portrait of the Dutch Republic  - Make it stand out Figure 1. The entrance portal to the Rasphuis (Photograph by the Amsterdam Municipal Department for the Preservation and Restoration of Historic Buildings and Sites, 2008.) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6fb708c8-5dd6-4b82-8d89-58f34f40ddfe/image0.jpeg Read - Early Oligarchal Penology: The Amsterdam Rasphuis as a Built Portrait of the Dutch Republic  - Make it stand out Figure 2. Detail of the Rasphuis Portal. Google Earth Street View, 2023. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/82a13cc4-db06-4d12-bda0-4364cca8baed/image2.jpeg Read - Early Oligarchal Penology: The Amsterdam Rasphuis as a Built Portrait of the Dutch Republic  - Make it stand out Figure 3. Entrance to the Rasphuis in 1783. (From Marvin E. Wolfgang, Pioneering in Penology: The Amsterdam Houses of Correction in the Sixteenth and Seventeenth Centuries (Philadelphia: University of Pennsylvania Press, 1944), 33.) https://www.canvasjournal.ca/read/revving-engines monthly 0.5 2023-03-03 https://www.canvasjournal.ca/read/the-war-on-rugs monthly 0.5 2023-05-16 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1675292347900-PDYEX1XVIOAGU5YSU1JH/1a.jpg Read - The Afghan War on Rugs https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1675292634219-ERDUP7HGLLIPXUIIKUUZ/1b.jpg Read - The Afghan War on Rugs https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1492fa52-4e65-4d76-9f86-ec9a1042ddf4/2.png Read - The Afghan War on Rugs - Make it stand out Figure 2. Pile Carpet or “Pazyryk Rug”, 400 BCE, wool, State Hermitage Museum, St. Petersburg. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e26d5697-1412-4689-a2de-3cc41dc0132c/3.png Read - The Afghan War on Rugs - Make it stand out Figure 3. Adraskand Carpet, 18th century, wool, Shindand, Afghanistan. Reproduced with permission of McGill Rare Books and Special Collections. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e8dfc355-3bf3-4f0f-a9d8-d861a06af61e/4.jpg Read - The Afghan War on Rugs - Make it stand out Figure 4. Mina-Khani Rug, 19th century, wool, Qarai tribe, Khorasan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/49b4dd6c-f7b3-471e-81ac-f87b211a042c/5.jpeg Read - The Afghan War on Rugs - Make it stand out Figure 5. Amānullāh Khan Rug with Falcons, 1950s, wool, Mashwani tribe, Afghanistan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/17258a16-e7ff-4d1d-91ef-33fda2f5a801/6.jpg Read - The Afghan War on Rugs - Make it stand out Figure 6. Six Portraits of Amānullāh Khan, 1990s, wool, Mashwani tribe, Afghanistan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/bd3d15e2-3030-4ce8-b8bb-6890201469f1/7.jpg Read - The Afghan War on Rugs - Make it stand out Figure 7. Shirvan Carpet. 1880, wool, Shirvan, Iran. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/925d467f-636e-4668-8ae0-7e9e42d4a98b/8.jpg Read - The Afghan War on Rugs - Make it stand out Figure 8. Abrash (mottled) Rug, 2000s, wool, Baluchi, Afghanistan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ba7710ff-becc-4a55-bd7b-fc195ebb0255/9.jpg Read - The Afghan War on Rugs - Make it stand out Figure 9. Zulmai, an Afghan Carpet seller, displays his "war rug" featuring a variety of weapons to Army Lt. Col. Chris Kubik at his shop in Camp Eggers, the US base in Kabul, Afghanistan. Rafiq Maqbool, 12 March 2009. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ad732085-22f8-4d89-8136-8a56eabb7526/10.png Read - The Afghan War on Rugs - Make it stand out Figure 10. Twin Towers Rug, 2004, wool, Kabul, Afghanistan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a99a5458-409f-419b-a04c-ebc5a007f2c7/11.jpg Read - The Afghan War on Rugs - Make it stand out Figure 11. 9/11 Pattern War Rugs, n.d., wool, Afghanistan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f5f5851d-1bfe-461d-82f4-ab5c96305a97/12.jpg Read - The Afghan War on Rugs - Make it stand out Figure 12. Beautifully Handmade Genuine Afghan War Rug, 2021, unknown fiber, Afghanistan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1675365125550-PO4FVKRQTNC73FPF2JAA/13.jpg Read - The Afghan War on Rugs https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1675365127425-6TGVPFG74RFYYO3C7JB5/14.jpg Read - The Afghan War on Rugs https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1675365127611-PYCTSE7VZNXPC58KQQH9/15.jpg Read - The Afghan War on Rugs https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1675365129216-65G6XQ4W8WDOAV0IAZS5/16.jpg Read - The Afghan War on Rugs https://www.canvasjournal.ca/read/devotion-exports-civic-duty monthly 0.5 2023-02-01 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6a7a9bdb-3cdc-40bf-a983-d0064e6b6cc1/Gerard_David_-_Lamentation_over_the_Body_of_Christ_-_1933.1040_-_Art_Institute_of_Chicago.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes - Make it stand out Figure 1. Gerard David, The Lamentation, 1500, Oil on panel, 55.1 × 62.8 cm, Art Institute of Chicago. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8a8d3bf6-41f8-4ad7-89f2-600f0558687b/Gerard_David_The_Lamentation.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes - Make it stand out Figure 2. Gerard David, The Lamentation, 1505, Oil on wood, Museum of Fine Arts, Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1674191083636-0VFDVDU559N1LHJRSFDV/Rogier_van_der_Weyden_-_Deposition_%28detail%29_-_WGA25577.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1674191083587-LVMD10BGP3P2JN77P62A/Rogier_van_der_Weyden_-_Deposition_%28detail%29_-_WGA25580.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5b71130c-f8e7-4d96-81e3-1d712e79f145/Hans_Memling_-_Diptych_of_Maarten_Nieuwenhove_-_WGA14955.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes - Make it stand out Figure 4. Hans Memling, Diptych for Maarten Nieuwenhove, 1487, Oil on oak panel, 52 x 41.5 cm (each), Memlingmuseum, Bruges. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/619c567a-63ea-4538-a708-25548f2dd474/Gerard_David_-_Lamentation_-_Google_Art_Project.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes - Make it stand out Figure 5. Gerard David, The Lamentation, 1515, Oil on oak panel, 63 x 62.1 cm, National Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/aec1ba90-3570-4a87-a147-3c0ff8a17e08/Gerard_David_-_Lamentation_-_Google_Art_Project.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes - Make it stand out Figure 6. Detail: Gerard David, The Lamentation, 1515. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1ec9a0d4-60a1-4df7-b146-6dc99952785b/madonna_and_child_with_saint_jerome_and_saint_john_the_baptist_1937.1.33.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes - Make it stand out Figure 7. Cima da Conegliano, Madonna and Child with Saint Jerome and Saint John the Baptist, 1495, Oil on poplar panel, 104 x 146 cm, National Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/57707bc5-98a2-4799-abb1-b4473a5c2ffa/DP-14936-023.jpg Read - Devotion, Exports, and Civic Duty: Gerard David’s Functional Landscapes - Make it stand out Figure 8. Gerard David, The Rest on the Flight into Egypt, 1515, Oil on wood, 53.3 x 39.8 cm, Metropolitan Museum of Art, New York. https://www.canvasjournal.ca/read/fuller-brooch monthly 0.5 2023-12-11 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b292765c-5e4e-4533-ac49-6d42acd74610/Fuller+Brooch.png Read - The Fuller Brooch as an Anglo-Saxon Object - Make it stand out Figure 1. Fuller Brooch (silver and niello, mid-to-late 9th century: British Museum, London). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/38f0907f-a010-4ed8-860b-f1bc8736b2f9/Alfred+Jewel.jpg Read - The Fuller Brooch as an Anglo-Saxon Object - Make it stand out Figure 2. Alfred Jewel (gold, rock crystal, enamel, c. 871-99: Ashmolean Museum, Oxford). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ca570130-48e6-4df2-9249-a237133b82bc/Beneventan+Manuscript.jpg Read - The Fuller Brooch as an Anglo-Saxon Object - Make it stand out Figure 3. Naples, Biblioteca Nazionale, lat. 6, fol. 111. In Court Culture in the Early Middle Ages: The Proceedings of the First Alcuin Conference, edited by Catherine Cubitt, 219. Turnhout: Brepols, 2003. https://www.canvasjournal.ca/read/semiotics-of-typography monthly 0.5 2023-01-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/bd925ea4-7a79-4ea1-b88a-9819c4228926/image.0.png Read - The Semiotics of Typography in Night Media - Make it stand out Figure 1. Demonstration of the various x-heights of a typeface. As evidenced, the size of a lowercase “x” in a certain typeface determines the heights of all the other main elements in each lowercase letter. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3f68fabe-df01-451e-a9ab-bc09f8d7753a/image.1.png Read - The Semiotics of Typography in Night Media - Make it stand out Figure 2. A traditional blackletter type sample. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/00e0c42f-6cb1-496d-bdb5-6763e79c11a1/image.2.png Read - The Semiotics of Typography in Night Media - Make it stand out Figure 3. Blackletter-inspired typeface seen in the script which reads “Night Demon,” the heavy metal band on their album cover for Darkness Remains. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3641b170-9fbf-4ba3-a0a7-ccdb91d82cda/image.3.png Read - The Semiotics of Typography in Night Media - Make it stand out Figure 4. While less explicit, Russian Doll’s script is also reminiscent of blackletter, which can be seen in the boldness of the letters, and the distinct shape of the “S.” https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d3000deb-ecec-4052-a93a-0e749666a3e7/image.4.jpg Read - The Semiotics of Typography in Night Media - Make it stand out Figure 5. Comparing the Russian Doll script to this one, called MacBeth OldStyle, helps to illustrate the blackletter influence for Russian Doll. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/da76047e-acda-42cc-8754-77a238c46ea8/image.5.png Read - The Semiotics of Typography in Night Media - Make it stand out Figure 6. The ephemerality of the Midnight Asia typeface is conveyed through the way the script is see-through, italicized, and curvilinear, as if it were handwritten. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/fe947a8f-d4c4-41fc-9172-16d61df362a8/image.6.png Read - The Semiotics of Typography in Night Media - Make it stand out Figure 7. In this cover art for Breve Miragem de Sol, the typeface appears as if it is being eaten away at the edges, and therefore alludes to a certain degree of transience. https://www.canvasjournal.ca/read/carr-v-thomson monthly 0.5 2023-01-17 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0cbf44cd-a271-45ad-bc87-233970b0397d/Jack+Pine+Thomson.jpg Read - Carr v. Thomson: A Case of Sexism, Settler Nationalism, and Indigenous Erasure in Canadian Art History - Make it stand out Figure 1. Tom Thomson, The Jack Pine, 1916-17, oil on canvas, 127.9 x 139.8 cm. National Gallery of Canada, Ottawa. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7a278504-d051-4569-98f6-4d6e23196468/West+Wind+Thomson.jpg Read - Carr v. Thomson: A Case of Sexism, Settler Nationalism, and Indigenous Erasure in Canadian Art History - Make it stand out Figure 2. Tom Thomson, The West Wind, 1917, oil on canvas, 120.7 x 137.2 cm. Art Gallery of Ontario, Toronto. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/fcbfedfa-07c0-4100-b19a-a45cbe181845/alanklinkhoffgallery-artdealers-appraisers-emily-carr-indian-village-alert-bay-village-indien-baie-alert-1909.png Read - Carr v. Thomson: A Case of Sexism, Settler Nationalism, and Indigenous Erasure in Canadian Art History - Make it stand out Figure 3. Emily Carr, Indian Village, Alert Bay, 1909, watercolour, 37.5 x 55.9 cm. Private collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a24174f0-d572-4343-9549-42057ac69e35/Carr+-+Totem+Pole%2C+Alert+Bay+%281911%29.png Read - Carr v. Thomson: A Case of Sexism, Settler Nationalism, and Indigenous Erasure in Canadian Art History - Make it stand out Figure 4. Emily Carr, Totem Pole, Alert Bay, 1911, oil on canvas, 68.6 x 35.9 cm. McMichael Canadian Art Collection, Kleinburg, ON. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/46105b70-2454-4c80-ac5f-f4e50988321a/skidegate.jpg Read - Carr v. Thomson: A Case of Sexism, Settler Nationalism, and Indigenous Erasure in Canadian Art History - Make it stand out Figure 5. Emily Carr, Skidegate, 1912, oil on canvas, 63.3 x 31.6 cm. Collection of the Vancouver Art Gallery, Vancouver, BC. https://www.canvasjournal.ca/read/capital-colonization-contemporaneity monthly 0.5 2022-12-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c967d517-87eb-442d-8b2c-67c17b3d9f3e/Figure+1.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters - Make it stand out Figure 1. Magda Eide Jessen and Vidar Corn Jessen (Photograph Elin Haugdal), The Sámi Museum (Sámiid Vuorká-Dávvirat), 1970–72, Karasjok, Norway. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c535dd73-6a62-43b1-99b5-822fd7a90c47/Figure+2.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters - Make it stand out Figure 2. Iver Jåks (Photograph: Elin Haugdal), Doorknob to the Sámi Museum in Karasjok. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6097fef9-e729-47e5-bf30-8940c72f8b97/Figure+3.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters Figure 3. Unknown architect. Lávvu, 19th century, https://commons.wikimedia.org/wiki/File:Sami tent.jpg. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/29e2f8da-b833-44bb-a10f-2adc42434da7/Figure+4.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters Figure 4. Unknown architect. Goahti, 2011, https://commons.wikimedia.org/wiki/File:Skansen29.jpg. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1657ee37-3450-405b-a86d-515d8621eba4/Figure+5.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters Figure 5. Jan Ole Andersen and Iver Jaks (Photograph: Elin Haugdal), The Sámi Cultural Pavilion, Ardna (right), 2004, Norway. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e894eb6f-3ad4-4366-8bce-a7bef0117542/Figure+6.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters Figure 6. Joar Nango, Girjegumpi: Sámi Architectural Library, nomadic project, first exhibited 2018. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/88636798-505e-4d32-80aa-d141544c7bc6/Figure+7.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters Figure 7. Gumpi, https://polarpedia.eu/en/gumpi/. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6099ed3c-75ea-480a-9770-16df14c4b28a/Figure+8.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters - Make it stand out Figure 8. Stein Halvorsen and Christian Sundby. Sámi Parliament Building, Karasjok, 2000. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5943a548-4d9b-48f0-9226-c46701877b2d/Figure+9.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters - Make it stand out Figure 9. Unidentified picture under “Giant Lávvu Syndrome,” https://gumpi.space/en. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/24f136fd-bec1-4609-ae2b-a2afb07700c4/Figure+10.jpg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters - Make it stand out Figure 11. Nils-Aslak Valkeapää Lásságammi, Skibotn, 2001. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/dd2f718c-0267-4d63-9e1e-fa69f37519bf/Figure+11.jpeg Read - Capital, Colonization, Contemporaneity: The Architecture Behind Joar Nango’s Sámi Shelters - Make it stand out Figure 11. Joar Nango, Sámi Shelters, exhibited at Knipsu, Bergen, 2010. https://www.canvasjournal.ca/read/deux-tableaux-deux-mesures monthly 0.5 2022-12-18 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b884de7e-149f-4417-8ff8-e593fa00392c/image-000.jpg Read - Deux tableaux, deux mesures : la réception de la race aux Salons du Louvre de 1741 et de 1800 - Make it stand out Figure 1. Maurice-Quentin de La Tour, Portrait d’un jeune noir boutonnant sa chamise [Le nègre], 1741. Pastel, 66.5 x 51.5 cm, Genève, Musée d’art et d’histoire. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/410bf252-edb3-45c6-bb0d-84fb1e9984d3/portrait-dune-nc3a9gresse+2.jpg Read - Deux tableaux, deux mesures : la réception de la race aux Salons du Louvre de 1741 et de 1800 - Make it stand out Figure 2. Marie Guillemine Benoist, Portrait de Madeleine [Portrait d’une Négresse], 1800. Huile sur toile, 81 x 65 cm, Paris, Musée du Louvre. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/add1b774-687c-4116-825a-a32ea37e1a05/DuchessePortsmouth.jpg Read - Deux tableaux, deux mesures : la réception de la race aux Salons du Louvre de 1741 et de 1800 - Make it stand out Figure 3. Pierre Mignard, Louise de Kéroualle, Duchess de Portsmouth avec une servante anonyme, 1682. Huile sur toile, 120.7 x 95.3 cm, Londres, National Portrait Gallery. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c0d9f78b-2e2c-444c-b119-1246de486bb9/image-004.png Read - Deux tableaux, deux mesures : la réception de la race aux Salons du Louvre de 1741 et de 1800 - Make it stand out Figure 4. Maurice-Quentin de La Tour, Portrait de Gabriel Bernard de Rieux, 1741. Pastel, 200 x 150 cm, Los Angeles, J. Paul Getty Museum. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d0fce08d-0c6f-433a-ba38-3efb14e3e52a/da43aa1930b272d7b5e9c2877595439f.jpg Read - Deux tableaux, deux mesures : la réception de la race aux Salons du Louvre de 1741 et de 1800 Figure 5. Maurice-Quentin de La Tour, Portrait de la Présidente de Rieux en habit de bal, tenant un masque, 1742. Pastel, 116 x 90 cm, Paris, Musée Cognacq-Jay. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/71caa927-68e5-488c-8422-2bf4b89f12a7/image-006.png Read - Deux tableaux, deux mesures : la réception de la race aux Salons du Louvre de 1741 et de 1800 Figure 6. Maurice-Quentin de La Tour, Portrait de Mlle Sallé, 1742. Pastel, 81.9 x 64.3 cm, Lisbon, Museu Calouste Gulbenkian. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/01505a22-60cf-4d0a-9d19-92f42a3ddf0f/image-007+%281%29.png Read - Deux tableaux, deux mesures : la réception de la race aux Salons du Louvre de 1741 et de 1800 - Make it stand out Figure 7. G. Devisme d’après Antoine-Maxime Monsaldy, Vue des ouvrages de peinture exposés au Museum Centrale des Arts en l’An VIII, 1800. Gravure 36,6 x 53,3 cm. Paris, école nationale supérieure des Beaux-arts. https://www.canvasjournal.ca/read/natural-landscape-as-the-great-visual-raconteur monthly 0.5 2023-01-22 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f3642ca8-e2e5-4ef9-b681-e3253a090652/1963_1414_IN2.png Read - Natural Landscape as the Great Visual Raconteur: A Reading of The Destruction of Sodom and Gomorrah - Make it stand out Figure 1. Herri met de Bles (Flemish, 1510-1572), The Destruction of Sodom and Gomorrah, c. 1545, Oil on canvas, 29.8 x 43.2 cm, Montreal Museum of Fine Arts. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a7b1eac4-d9af-4bf9-9fac-22bebd95bcdb/Landscape-Destruction-of-Sodom-and-Gomorrah-oil.png Read - Natural Landscape as the Great Visual Raconteur: A Reading of The Destruction of Sodom and Gomorrah - Make it stand out Figure 2. Joachim Patinir (Netherlandish, Dinant or Bou vignes, active by 1515-died 1524 Antwerp), Landscape with the Destruction of Sodom and Gomorrah, c. 1520, Oil on panel, 30 x 22.5 cm, Museum Boijmans Van Beuningen, Netherlands. https://www.canvasjournal.ca/read/exhibiting-artemisia monthly 0.5 2022-12-11 https://www.canvasjournal.ca/read/tam-khoa-vu-their-country monthly 0.5 2022-11-19 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/83d3b841-62d8-44af-8885-fc14c68925d6/image8.jpg Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future - Make it stand out Artist Tam Khoa Vu (right) chatting with visitors at the exhibition. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c890bce9-6736-4392-b39c-3921225c02e9/image3.jpg Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future Figure 1. Khoa Vu, Tam. Their Country I: 100ft Waves. 2021. Oil paint on canvas with wood frame, 28" x 36". Painted in Vietnam, framed in Montreal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/61e1b800-b785-4658-b3e5-9bbfb9c41a6f/image2.jpg Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future Figure 2. Khoa Vu, Tam. Their Country II: Waves like a Wall. 2021. Oil paint on canvas with golden leaf frame, 28" x 36". Painted in Vietnam, framed in Montreal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8e8dba5e-9132-4690-85f0-5ea238734a1e/image9.png Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future Figure 3. Khoa Vu, Tam. Installation View of Their Country I & II at Artch exhibition. 2021. Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/60b85b23-87ba-4523-952a-20c066fdbafd/image1.png Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future - Make it stand out Figure 4. Khoa Vu, Tam. Installation View of Family Album at Artch exhibition. 2021. Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/555353b7-7c52-497e-88b5-f50959d4beed/image6.png Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future Figure 5. Khoa Vu, Tam. Pictorial Techpack Instruction for Their Country I: 100ft Waves. 2021. Photoshop Render. Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/9c83cfcc-42db-4f87-824a-e0f4b6e2a65b/image11.png Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future Figure 6. Khoa Vu, Tam. Study for Their Country II: Waves like a Wall. 2021. Photoshop Render. Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7ba11551-ccf9-4707-8c93-55482e23623b/image7.png Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future - Make it stand out Figure 7. Hopper, Edward. Ground Swell. 1939. Oil on canvas, 91.92 × 127.16 cm. Boston, National Gallery of Art. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c03533fa-5ef7-434e-b1c4-371c2411a019/image10.png Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future - Make it stand out Figure 8. Edwin Church, Frederic. Study for "Under Niagara". 1858. Oil on paper mounted on canvas, 11.7" x 17.5". New York, Olana State Historic Site. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4df304d4-e7c5-484a-9424-807e9153aa62/image5.png Read - Tam Khoa Vu’s “Their Country”: Towards an Empowered Telling of Migrant Future - Make it stand out Figure 9. Edwin Church, Frederic. Niagara. 1857. 101.6 × 229.9 cm. Boston, National Gallery of Art. https://www.canvasjournal.ca/read/venus-in-the-city monthly 0.5 2022-09-19 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e26a7b76-c130-4edc-8e52-48d83879a784/Alma-Tadema_Unconscious_Rivals_1893.jpg Read - Venus in the City: Alma-Tadema’s Female Figures and the Creation of an Erotic Geography - Make it stand out Figure 1. Lawrence Alma-Tadema, Unconscious Rivals, 1893, Oil on canvas, Bristol City Museum and Art Gallery. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ccb39d60-d47e-4e29-badc-21b3bd026af0/Hide_and_Seek_MET_DP839594.jpg Read - Venus in the City: Alma-Tadema’s Female Figures and the Creation of an Erotic Geography - Make it stand out Figure 2. Leopold Löwenstam (after Lawrence Alma-Tadema), Hide and Seek, 1891, etching on tissue, Metropolitan Museum of Art. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3dfa499f-fcb0-4872-8cf9-b365e9bc458c/sir_lawrence_alma_tadema_on_the_steps_of_the_capitol.jpg Read - Venus in the City: Alma-Tadema’s Female Figures and the Creation of an Erotic Geography - Make it stand out Figure 3. Lawrence Alma-Tadema, On the Steps of the Capitoline or The Garland-Seller, 1872, Oil on Canvas, Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662851575628-WJ4JAVCTJPDRU8Q2WDTE/1620px-domusaurearoma28884308680.jpg Read - Venus in the City: Alma-Tadema’s Female Figures and the Creation of an Erotic Geography https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662851575391-RB5VML6FKTJXEF5YQWC5/Domus-Aurea-11-1024x683.jpg Read - Venus in the City: Alma-Tadema’s Female Figures and the Creation of an Erotic Geography https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0aae76c4-9503-4b69-84ac-6d1f37df305b/Bgc4GnICAAADABe.jpg Read - Venus in the City: Alma-Tadema’s Female Figures and the Creation of an Erotic Geography - Figure 5. Lawrence Alma-Tadema, The Coliseum, 1896, Oil on canvas, Private collection; with details. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e4987b2a-165b-467e-9ef9-01c448f56ea3/lawrence_alma_tadema_baths_caracalla.jpg Read - Venus in the City: Alma-Tadema’s Female Figures and the Creation of an Erotic Geography - Figure 6. Lawrence Alma-Tadema, Thermae Antoninianae, 1899, Oil on canvas, Private collection. https://www.canvasjournal.ca/read/queer-botticelli monthly 0.5 2022-09-11 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f01d6c8c-190b-4526-9a64-07cfd36ffc17/Copy+of+fig1.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 1. Sandro Botticelli, The Birth of Venus, c. 1485, Tempera on Canvas, 172.5 x 278.5 cm, Uffizi Gallery, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e69af9fc-d52d-4d75-88c4-ca08f2a54154/Copy+of+fig2.png Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 2. Sandro Botticelli, The Birth of Venus (detail), c. 1485, tempera on canvas, 172.5 x 278.5 cm, Uffizi Gallery, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/58fbffcf-4e38-431e-8f0c-43e7c79feff8/Copy+of+fig3.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 3. Donatello, David, c. 1440s, bronze, 158 cm, Museo Nazionale del Bargello, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/78241cb7-c81b-4c98-81e3-e56ec85d01c0/Copy+of+fig4.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 4. Back view of Donatello’s David, c. 1440s, bronze, 158 cm, Museo Nazionale del Bargello, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/412f7275-6a6e-4132-ab85-ac4d1cc5b229/Copy+of+fig5.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 5. Sandro Botticelli, Venus and Mars, c. 1485, tempera and oil on poplar panel, 69 cm x 173 cm, National Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4a142db2-6764-4653-b789-85188599ea76/Copy+of+fig6.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 6. Sandro Botticelli, The Birth of Venus, c. 1485, Tempera on Canvas, 172.5 x 278.5 cm, Uffizi Gallery, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e633ead3-fdba-45b8-a2e2-1bf599cda5c8/Copy+of+fig7.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 7. Unknown artist, Venus de' Medici, 1st Century BCE, marble (Hellenistic copy of original bronze), 1.53 m, Uffizi Gallery, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a998065d-4887-4fb3-9154-7639a194195b/Copy+of+fig8.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 8. Bronze age Paphiote goddess, Copenhagen, Nationalmuseet.(61) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/bf7c59f1-0012-4c24-9ae2-f15c1bd31453/Copy+of+fig9.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 9. Giovanni Pisano, pulpit of the Cathedral of Pisa (detail of Venus Pudica type), c. 1311, marble, Cathedral of Pisa, Pisa. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662845437669-4U86YA95JJO4OG5P3803/Copy+of+fig10.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662845437696-OCA9DGPP4QZGDHO7300X/Copy+of+fig11.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662845835902-QHSRSATYLOB61ZYXU2KB/Copy+of+fig12.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662845835934-RR7SIM0EGTIEYYPMVDAW/Copy+of+fig13.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662846012578-YNNDCK04SZQOS9HQGRHT/Copy+of+fig14.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662846012633-VK1KI3VLLH1PA3DUL1TB/Copy+of+fig15.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/24d14c50-eec9-4e8e-b9ee-c9182babc26f/Copy+of+fig16.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 16. Sandro Botticelli, The Birth of Venus (detail), c. 1485, tempera on canvas, 172.5 x 278.5 cm, Uffizi Gallery, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662846958031-P8LH9IQSJIWZK378CET0/Copy+of+fig17.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662846958018-J88946V4X1OUKEYQIQXI/Copy+of+fig18.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662847101943-T9L3SCFVFWRO8TW3X7NZ/Copy+of+fig19.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662847101904-AUJEOFGYUZCCQSMYJXQ4/Copy+of+fig20.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2f83bc45-49e8-499e-b163-63913fa36d3c/Copy+of+fig21.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 21. Lady Gaga arriving in Athens, 2014. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a3ec64a8-5c01-49d7-b0b2-ee88a2ee98b5/Copy+of+fig22.jpg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 22. Lady Gaga, ARTPOP, Streamline and Interscope Records, 2013. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c87bfd0f-a015-47ce-92e0-f147dcd42aed/Copy+of+fig23.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 23. Still from: Lady Gaga, Applause, directed by Inez and Vinoodh (USA: Interscope Records, 2013). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662848053203-MQQAXEJCZK4YTT9SCNNS/Copy+of+fig24.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662848053202-3YRJJGU4UPT5JTO4FS1R/Copy+of+fig25.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/af3f9f0f-de4e-443e-9ffc-28330ce76426/Copy+of+fig26.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 26. Still from: Lady Gaga, G.U.Y. (An ARTPOP Film), directed by Lady Gaga (USA: Interscope Records, 2014). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/afea4a94-a5b7-402c-be72-0bfc737f743e/Copy+of+fig27.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 27. Still from: Lady Gaga, G.U.Y. (An ARTPOP Film), directed by Lady Gaga (USA: Interscope Records, 2014). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f2a252ea-5565-4678-8d2c-6fb1404674f4/Copy+of+fig28.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 28. Still from: Lady Gaga, G.U.Y. (An ARTPOP Film), directed by Lady Gaga (USA: Interscope Records, 2014). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6ee46fd1-c324-4079-b0dc-112ca9a11d3b/Copy+of+fig29.jpeg Read - A Queer Analysis of Botticelli’s Venus and Her Role as Pop-Cultural Icon - Make it stand out Figure 29. Still from: Lady Gaga, G.U.Y. (An ARTPOP Film), directed by Lady Gaga (USA: Interscope Records, 2014). https://www.canvasjournal.ca/read/materially-immaterial monthly 0.5 2022-11-21 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/44bfbbc1-bb0c-4e6a-88ad-f31de5f645f8/Image+1+%28left%29+_+Mitchell+F.+Chan%2C+Digital+Zone+of+Immaterial+Pictorial+Sensibility+%28Series+0%2C+Edition+10%29%2C+NFT%2C+2017%2C+hosted+at+Natively+Digital+1.2%2C+Sotheby%E2%80%99s+Metaverse_.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 1. Mitchell F. Chan, Digital Zone of Immaterial Pictorial Sensibility (Series 0, Edition 10), 2017, NFT, hosted at Natively Digital 1.2, Sotheby’s Metaverse. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/943b1492-f49f-4538-86ff-6af2d18aacb6/Image+2+%28right%29+_+William+Henry+Fox+Talbot%2C+The+Ancient+Vestry%2C+Calvert+Jones+in+the+Cloisters+at+Lacock+Abbey%2C+Paper+Calotype+Negative%2C+circa.+1845%2C+Victoria+and+Albert+Museum_.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 2. William Henry Fox Talbot, The Ancient Vestry, Calvert Jones in the Cloisters at Lacock Abbey, c. 1845, Paper Calotype Negative, Victoria and Albert Museum. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e061f8a0-0334-4157-aafc-ceeb0005f5a7/Image+3+%28left+top%29+_+Mitchell+F.+Chan%2C+Digital+Zone+of+Immaterial+Pictorial+Sensibility+%28Series+0%2C+Edition+10%29%2C+NFT%2C+2017%2C+hosted+at+Natively+Digital+1.2%2C+Sotheby%E2%80%99s+Metaverse_.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 3. Mitchell F. Chan, Digital Zone of Immaterial Pictorial Sensibility (Series 0, Edition 10), 2017, NFT, hosted at Natively Digital 1.2, Sotheby’s Metaverse. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/10c758a8-027c-4df9-8ba8-c5688f9e23a4/Image+4+%28left+bottom%29_+Yves+Klein%2C+Untitled+Blue+Monochrome+%28IKB+100%29%2C+1956.++Dry+pigment+and+synthetic+resin+on+gauze+mounted+on+panel%2C+31+x+22+inch.+Estate+of+Yves+Klein.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 4. Yves Klein, Untitled Blue Monochrome (IKB 100), 1956, Dry pigment and synthetic resin on gauze mounted on panel, 31 x 22 inch, Estate of Yves Klein. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/84e43e05-a732-4b78-a994-df2c75ceff34/Image+5+%28right+bottom%29_+%E2%80%9CView+of+Yves+Klein%E2%80%99s+exhibition+%E2%80%9CThe+Void%E2%80%9D%2C+at+Galerie+Iris+Clert%2C+1958%E2%80%9D.+Photograph.+Galerie+Iris+Clert%2C+Paris%2C+France%2C+The+Estate+of+Yves+Klein_.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 5. “View of Yves Klein’s exhibition “The Void”, at Galerie Iris Clert, 1958”, Photograph, Galerie Iris Clert, Paris, France, The Estate of Yves Klein. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a0331b62-38ee-405d-ae13-dc107624d404/Image+6_+Giancarlo+Botti%2C+Transfer+of+a+_Zone+of+%E2%80%8B%E2%80%8BImmaterial+Pictorial+Sensibility_+to+Michael+Blankfort%2C+Pont+au+Double%2C+Paris%2C+February+10th+1962%2C+photograph.+Estate+of+Yves+Klein_.jpg Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 6. Giancarlo Botti, Transfer of a "Zone of Immaterial Pictorial Sensibility" to Michael Blankfort, Pont au Double, Paris, February 10th 1962, photograph, Estate of Yves Klein. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/edbfd060-0703-4d38-845a-c59271141126/Image+7_+Portable+Camera+Obscura%2C+Courtesy+George+Eastman+House%2C+JSTOR.jpg Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 6. Portable Camera Obscura, Courtesy George Eastman House, JSTOR. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d4922df3-2c1b-4eb3-9d0c-3a2a6b20ab56/Image+8_+Front+Cover%2C+William+Henry+Fox+Talbot%E2%80%99s+%E2%80%9CThe+Pencil+of+Nature%E2%80%9D%2C+1844.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 7. Front Cover, William Henry Fox Talbot’s “The Pencil of Nature”, 1844. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662409130399-NIKAHXFHSJ67VBJ47IRF/Image+9+%28top+left%29_+Benjamin+Brecknell+Turner%2C+Hawkhurst+Church%2C+Kent_+A+Photographic+Truth%2C+Calotype+negative+1852-4.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 8. Benjamin Brecknell Turner, Hawkhurst Church, Kent: A Photographic Truth, 1852-4, alotype negative. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662409134809-NSV32PYHTKJ2PZTBC2O1/Image+10+%28top+right%29_+Benjamin+Brecknell+Turner%2C+Hawkhurst+Church%2C+Kent_+A+Photographic+Truth%2C+Albumen+print+1852-4.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Figure 9. Benjamin Brecknell Turner, Hawkhurst Church, Kent: A Photographic Truth, 1852-4, Albumen print. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662409670456-DCASVF36VD42DU9EQG51/Image+11+%28top+left%29_+William+Henry+Fox+Talbot%2C+Side+of+Lacock+Abbey+with+Sharington_s+Tower_+Calotype+Paper+Negative%2C+1839%2C+Victoria+and+Albert+Museum.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1662409678343-AHSDSN9FMH2IDRA8LFF2/Image+12+%28right%29_+William+Henry+Fox+Talbot%2C+Lacock+Abbey+entrance+arch%2C+Calotype+Paper+Negative%2C+1839%2C+Victoria+and+Albert+Museum.png Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/923ddc45-b499-4c6f-8743-66619bcc2c1d/Image+13_+Frame+from+Promotional+Video+for+Sotheby%E2%80%99s+Natively+Digital+1.2+NFT+Auction.jpg Read - Materially Immaterial: Perspective and Value Creation through NFTs and Photographic Negatives - Make it stand out Figure 12. Frame from Promotional Video for Sotheby’s Natively Digital 1.2 NFT Auction. https://www.canvasjournal.ca/read/looming-large monthly 0.5 2022-09-11 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/063946c9-e3ed-4520-9319-aad0b253bb81/Campbell_Map.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 1. John C. Campbell, Map of Southern Appalachia, John C. Campbell Foundation, https://artsandsciences.sc.edu/appalachianenglish/node/783. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/04733f3c-5d52-4ddb-ae29-6734ad9d0118/teachnc_mountains.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 2. Image of Blue Ridge Mountains https://en.wikipedia.org/wiki/Blue_Ridge_Mountains#/media/File:Rainy_Blue_Ridge-27527.jpg. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/55f696f1-b04b-47fc-b8a4-7097d49a433f/francesgoodrich2.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 3. Frances L. Goodrich, https://www.wcu.edu/library/DigitalCollections/CraftRevival/people/franceslgoodrich.html. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2bc32a42-fa14-4b23-9340-19cd71b9a909/IMG_3336.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 4. Josephine Mast, untitled, 1920, coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/19728289-7934-4ef0-8daf-9401abb60df4/default.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 5. Harris and Ewing, President’s Blue Mountain Room at the White House, 1913, photograph. https://wcudigitalcollection.contentdm.oclc.org/digital/collection/p4008coll2/id/946/rec/40 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/92c5fdc6-64e5-4196-9fc6-a4e47000d991/IMG_3339.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 6. Josephine Mast, Sun, Moon, and Stars Variation (detail), 1918, coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0b6a3a5a-7a43-42c2-ada8-0de24efeee09/IMG_3346.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 7. Doris Ullman, Mrs. Leah Adams Dougherty, 1933-34, photograph. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5c959888-8390-4296-a402-b5ef12a27479/IMG_3337.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 8. Josephine Mast, untitled, overshot coverlet. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/fa5217eb-e7bc-4da3-9035-41be39843d36/IMG_2986.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 9. Frances L. Goodrich, Sample Book, 1891, Southern Highland Craft Guild. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/222229d1-3168-4600-a94e-f8cd65a823e2/Screen+Shot+2021-11-13+at+2.46.44+PM.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 10. Josephine Mast, American Beauty, 1913, coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/34e1d2de-cc04-412f-8049-9988d5cad2d8/Screen+Shot+2021-11-13+at+2.46.44+PM.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 11. Josephine Mast, American Beauty (detail), 1913, coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2300107c-8130-4c6f-8a17-514e0ce8370d/IMG_3338.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 12. Josephine Mast, Sun, Moon and Stars Variation, 1918, coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/99d44e27-931d-420b-beeb-4b4ac6698a79/IMG_3536.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 13. Mary Ellam Cuthbertson, Original Governor’s Garden, 1885, coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/abf2e1f7-5677-4a4a-97de-7e7d486f9bb8/IMG_3574.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 14. Sarah Murrell, Orange Peel Variation, 1850, coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3aef7ee8-8efa-4b11-a65b-16b71b6a3b85/IMG_3530-1.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 15. Rachel McLin, Cat Tracks and Snail Trail with Border, 19th c., coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/aa06c3d6-6e64-4a90-b807-f750351c1e86/Screen+Shot+2021-11-13+at+2.06.57+PM.jpg Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 16. Mrs. Rhyne, Whig Rose, 1895-1920, coverlet weaving. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8750649f-1026-4dfc-9b10-29e0d81dfa46/Screen+Shot+2022-08-25+at+4.49.20+PM.png Read - Looming Large: Coverlet Weaving in Southern Appalachia - Make it stand out Figure 17. Anni Albers, Monte Albán, 1936, silk, linen, and wool, Harvard Art Museum. https://www.canvasjournal.ca/read/urban-art-montreal-plateau monthly 0.5 2022-09-11 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/facaeaef-ac10-41c6-8766-80147001dfd2/image-1.png Read - Urban Art in Montreal’s Creative City: Intersections of Street Art, Graffiti, and Gentrification in the Plateau-Mont-Royal - Make it stand out Figure 1. Esteban del Valle, Transplants: The Discovery of Humboldt Park, 2017. Acrylic on raw canvas. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c20143fb-e20b-42d1-a1d2-b5b906b4fd1d/IMG_6141.jpg Read - Urban Art in Montreal’s Creative City: Intersections of Street Art, Graffiti, and Gentrification in the Plateau-Mont-Royal - Make it stand out Figure 2. Whatisadam, Summer of 67, 2018. Spray paint on wall, Plateau-Mont-Royal, Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f51dca20-65f9-422a-8792-71febccdb947/Capture+d%E2%80%99ee%CC%8Ccran+2021-11-29+aE%CC%8C+1.31.16+PM.png Read - Urban Art in Montreal’s Creative City: Intersections of Street Art, Graffiti, and Gentrification in the Plateau-Mont-Royal - Make it stand out Figure 3. Shalak and Guko, Norte-Sur, 2008. Spray paint on wall, Plateau-Mont-Royal, Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/871ba6fa-dfad-45ad-bbd0-172988e51c65/valleegraf.0.0.jpg Read - Urban Art in Montreal’s Creative City: Intersections of Street Art, Graffiti, and Gentrification in the Plateau-Mont-Royal - Make it stand out Figure 4. Unknown Graffiti writer, Bouffe trop chère = loyers trop chers, 2016. Spray paint on wall, Saint-Henri, Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7d395bf6-ea26-4471-b9b3-90fbcf2cb160/Capture+d%E2%80%99ee%CC%8Ccran+2021-11-29+aE%CC%8C+1.39.35+PM.png Read - Urban Art in Montreal’s Creative City: Intersections of Street Art, Graffiti, and Gentrification in the Plateau-Mont-Royal - Make it stand out Figure 5. Unknown Graffiti writers, Graffiti tags on Whatisadam mural, date unknown. Spray paint on wall, Plateau-Mont-Royal, Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f8309e6e-d0d9-42ce-a90e-c4fa1839dc3f/Capture+d%E2%80%99ee%CC%8Ccran+2021-11-29+aE%CC%8C+1.39.10+PM.png Read - Urban Art in Montreal’s Creative City: Intersections of Street Art, Graffiti, and Gentrification in the Plateau-Mont-Royal - Make it stand out Figure 6. Unknown Graffiti writers, Tags on Shalak and Guko Mural, date unknown. Spray paint on wall, Plateau-Mont-Royal, Montréal. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8db3d64b-c322-4590-995d-0a1ddc8d3042/MJ8.jpg Read - Urban Art in Montreal’s Creative City: Intersections of Street Art, Graffiti, and Gentrification in the Plateau-Mont-Royal - Make it stand out Figure 7. Guko and Monk-E, Missing Justice, 2014. Spray paint on wall, Ville-Marie, Montréal. https://www.canvasjournal.ca/read/mimicry-as-a-method-of-subversion-in-indigenous-art monthly 0.5 2022-09-04 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/22f527f6-f81f-4265-b28c-a874c9002f1b/Copy+of+Kent+Monkman.jpg Read - Mimicry as a Method of Subversion in Indigenous Art - Make it stand out Figure 1. Kent Monkman, Bacchanal, 2020. Acrylic on canvas, 72” x 120” (182.8 x 304.8 cm) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d518f24f-692b-44f2-bdf9-1d061c3b94ca/Copy+of+Titian.jpg Read - Mimicry as a Method of Subversion in Indigenous Art - Make it stand out Figure 2. Titian (Tiziano Vecellio), Bacchanal of the Andrians, 1523-1526. Oil on canvas, 68.8 x 77.9 in (175 x 193 cm). Museo Nacional del Prado, Madrid, Spain. Image: Museo Nacional del Prado. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/55021943-85ca-4073-9efc-7513e7560ef9/Copy+of+Cross.png Read - Mimicry as a Method of Subversion in Indigenous Art - Make it stand out Figure 3. Passamaquoddy artist, Untitled, ca. 1830. Wood carving with pigment in Annali Lateranensi (1937), volume 1. 19. Propaganda Fide Library, Rome. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3d4165a7-3d12-46ee-aac5-000e02bec25f/Copy+of+Rebecca+Belmore.jpg Read - Mimicry as a Method of Subversion in Indigenous Art - Make it stand out Figure 4. Rebecca Belmore, Binjiya’iing Onji (From Inside), 2017. Marble, installation view. Filopappou Hill, Athens, documenta 14, photograph: Scott Benesiinaabandan https://www.canvasjournal.ca/read/le-grand-escalier-du-nouvel-opra-a-feminist-approach monthly 0.5 2022-05-16 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d79d6d14-66b1-482c-b863-cb9f5812d164/1280px-GarnierOperaParis.jpeg Read - Le Grand Escalier du Nouvel Opéra: A Feminist Approach - Make it stand out Figure 1. Jean Béraud, L'escalier de l'opéra Garnier, 1877. Oil on canvas. Musée Carnavalet, Paris. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2162823e-30bc-4820-b097-0c360bde2f39/Paris_l%27Ope%CC%81ra_Garnier_Le_grand_escalier_%282%29.jpeg Read - Le Grand Escalier du Nouvel Opéra: A Feminist Approach - Make it stand out Figure 2. Pierre André Leclercq, Paris l'Opéra Garnier: Le Grand Escalier, 2015. Photography. https://www.canvasjournal.ca/read/the-aestheticization-of-chinatown-a-sociopolitical-account-of-montreals-paifangs monthly 0.5 2022-05-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/95f190d3-76cd-474b-9f27-87a321c92c33/trch-3x2-archival-1-1-p-2000.jpeg Read - The Aestheticization of Chinatown: A Sociopolitical Account of Montreal’s Paifangs - Make it stand out Figure 1. A 1909 insurance plan map of the neighbourhood. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/dba58e12-a093-4208-8d7e-8846da569a5e/VM94-B259-028.jpeg Read - The Aestheticization of Chinatown: A Sociopolitical Account of Montreal’s Paifangs - Make it stand out Figure 2. This image captures only a portion of the land demolished for the Guy Favreau Complex. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/43de745c-bb4c-4d6b-abe0-a27b9dd98b37/VM94-A1025-006.jpeg Read - The Aestheticization of Chinatown: A Sociopolitical Account of Montreal’s Paifangs - Make it stand out Figure 3. One of the first two paifangs in Montreal’s Chinatown, as seen in 1991 on De La Gauchiere street before it was moved in 1999. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/92aa8638-7766-401a-adfe-f971eba7de9a/01-Arches.jpg Read - The Aestheticization of Chinatown: A Sociopolitical Account of Montreal’s Paifangs - Make it stand out Figure 4. The North and South paifangs after their restoration in 2016. https://www.canvasjournal.ca/read/revitalizing-the-records-examining-the-photographic-work-of-shelley-niro-and-jeffrey-thomas monthly 0.5 2022-03-11 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6b8cb76a-f1ab-4580-80fb-ca8f980bac1a/image1.png Read - Revitalizing the Records: Examining the Photographic Work of Shelley Niro and Jeffrey Thomas - Make it stand out Figure 1. Shelley Niro, Red Heels Hard, hand-tinted photograph on paper, 1991. Accessed at https://photolife.com/2018/04/scotiabank-photography-award-shelley-niro-exhibition-at-contact/ https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f5105837-de9f-4411-823e-381e2bb66fc3/image2.png Read - Revitalizing the Records: Examining the Photographic Work of Shelley Niro and Jeffrey Thomas - Make it stand out Figure 2. Jeffrey Thomas, Attitude, silver gelatin prints, 1998. Accessed at http://jeff thomas.ca/publication-docs/aboriginal-interventions-into-the-photographic-archive.pdf https://www.canvasjournal.ca/read/bridging-social-divides-through-death-nicolas-lachances-danse-macabre-dition-heidelberg-1488nbsp monthly 0.5 2022-05-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3596c966-3d48-47f1-ba8f-b9ead9fd4d79/image7.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  - Make it stand out Figure 1. Nicolas Lachance, Danse macabre (édition Heidelberg, 1488), 2018, print on cotton pulp paper. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/282f13be-7ea1-4a8e-b841-c3a70c90407d/image10.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  - Make it stand out Figure 2. Nicolas Lachance, Danse macabre (édition Heidelberg, 1488), 2018, print on cotton pulp paper. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c4d37e00-11e6-480a-b74b-6a45ad53abcb/image4.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5922cae5-8a65-468c-a1a0-3a17492c655c/image12.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625948134-KCZX4VE2WNP0C6L1ZM8B/image5.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625961074-13V4M6AFW221UHYUFSDU/image6.jpg Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625948867-08FDMPAQVVUM6PHRKKQB/image11.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625947426-ER3ZQW8PIYH8FBI7X2DX/image13.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625949103-124M8P0ZQ82Y13A6D3FI/image16.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625948435-QKNBJ8DGGW8SST2IBVCR/image9.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625949764-DQIA9T05NKQJFOWZ58YO/image14.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625949581-CKICD6G9LA470DHSW5P2/image8.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1644625950128-LJ4HXSDS3PVD0UZ3EB6E/image17.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5e81a821-b7ae-4db0-ac5d-8be0de6aa8c1/image18.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  - Make it stand out Figure 5. Nicolas Lachance, Danse macabre (édition Heidelberg, 1488), 2018, print on cotton pulp paper. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/79d4b3c8-6051-407a-975d-f811f3d7dadb/image15.png Read - Bridging Social Divides Through Death: Nicolas Lachance’s Danse macabre (édition Heidelberg, 1488)  - Make it stand out Figure 6. Nicolas Lachance, Danse macabre (édition Heidelberg, 1488), 2018, print on cotton pulp paper. https://www.canvasjournal.ca/read/laughing-through-world-war-ii-how-the-american-government-and-radio-executives-imperceptibly-infused-propaganda-into-entertainment-shows monthly 0.5 2022-02-08 https://www.canvasjournal.ca/read/universality-amp-malleability-icons-of-the-virgin-at-saint-catherines-monastery monthly 0.5 2022-05-09 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1643077614382-83H35NQ5PTVGE0HL613K/image1.jpeg Read - Universality & Malleability: Icons of the Virgin at Saint Catherine’s Monastery - Figure 1 Virgin (Theotokos) and Child between Saints Theodore and George, 6th century, encaustic on wood, St. Catherine's Monastery, Sinai, Egypt. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1643077615340-UTOSDS7Q3ZDPTAKWZKN3/image3.jpeg Read - Universality & Malleability: Icons of the Virgin at Saint Catherine’s Monastery - Figure 2 Icon with the Virgin Hodegetria Dexiokratousa, 13th century, mosaic set in wax on wood, St. Catherine's Monastery, Sinai, Egypt. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1643077614188-2AQ1MKFB8FJA3A4T75F7/image2.jpeg Read - Universality & Malleability: Icons of the Virgin at Saint Catherine’s Monastery - Figure 3 Saint Catherine with the Virgin of the Burning Bush, 13th century, tempera and metal leaf with pigmented varnish on panel, St. Catherine's Monastery, Sinai, Egypt. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1643077614382-83H35NQ5PTVGE0HL613K/image1.jpeg Read - Universality & Malleability: Icons of the Virgin at Saint Catherine’s Monastery - Make it stand out Virgin (Theotokos) and Child between Saints Theodore and George https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/fee9de05-af49-4ef3-8fdc-3d4dd3bece1c/image3.jpeg Read - Universality & Malleability: Icons of the Virgin at Saint Catherine’s Monastery - Make it stand out Icon with the Virgin Hodegetria Dexiokratousa https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1643077614188-2AQ1MKFB8FJA3A4T75F7/image2.jpeg Read - Universality & Malleability: Icons of the Virgin at Saint Catherine’s Monastery - Make it stand out Saint Catherine with the Virgin of the Burning Bush https://www.canvasjournal.ca/read/the-piercing-punctum-of-radioactive-photographs monthly 0.5 2022-01-24 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1642093025699-VL52E08F5UL9RV3DNGDG/image1.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 1. Jeremy Bolen, Hot Spots: Radioactivity and the Landscape, undated (c. 2016). Mixed media: landscape photograph, dirt, and print made from film buried in radioactive earth in Jackpile Mine, New Mexico. Unknown dimensions. Jackpile Mine is an abandoned uranium mining site that was operative from 1952 to 1982. It is on the United States Environmental Protection Agency’s National Priorities List for cleanup.[95] https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1642093025731-YIHFVD2AME22WCJKWWT3/image2.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 2. Jeremy Bolen, Jackpile Mine 4, 2016. Mixed media: landscape photograph, dirt, and print made from film buried in radioactive earth in Jackpile Mine, New Mexico. Unknown dimensions. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1642093026153-PCF7O9Y3DSCUA8N0GGVD/image3.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 3. Jeremy Bolen, Site A Excavations, 2013. Mixed media: dirt and print made from film buried in radioactive earth in Argonne, Illinois. Unknown dimensions. The Argonne National Laboratory, which was born out of the University of Chicago’s work on the Manhattan project in the 1940s, is a multidisciplinary science and engineering center.[96] Site A was the first nuclear dumping ground in the United States after an early nuclear reactor was built on site in 1943.[97] https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7dc202ee-0ea3-473a-9dd0-5654131f8527/image4.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 4. Abbey Hepner, Hanford Washington, Transuranic series, 2014. Uranotype photograph, 9” x 13”. In Hanford and in its adjacent Columbia generating station, radioactive waste is buried and activities of research and development of radioactive waste management technologies are pursued.[98] https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2fa7bf91-b6e1-4dbb-9679-a08920981f2f/image5.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 5. Abbey Hepner, Columbia Generating Station, Hanford Washington, Transuranic series, 2014. Uranotype photograph, 9” x 13”. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/08251398-e080-43ca-8377-a055a9ed8b00/image6.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 6. Abbey Hepner, Detail from installation, Transuranic series, 2014. Uranotype photograph and Geiger counters. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1a72efd1-2d91-4a6b-8dfe-332c65a51e7e/image7.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 7. Yoi Kawabuko, If the Radiance of a Thousand Suns Were to Burst At Once Into the Skies I, 2014. Unexposed photosensitive paper buried under soil in Fukushima’s evacuation zone. Unknown dimensions. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/9d401156-ee65-427d-8260-f1df3be376bb/image8.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 8. Yoi Kawabuko, If the Radiance of a Thousand Suns Were to Burst At Once Into the Skies V, 2019. Unexposed photosensitive paper buried under soil in Fukushima’s evacuation zone. Unknown dimensions. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0815f070-0ad3-4fe2-ad5d-4a01f28cbaf1/image9.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 9. Yoi Kawabuko, If the Radiance of a Thousand Suns Were to Burst At Once Into the Skies IV, 2019. Unexposed photosensitive paper buried under soil in Fukushima’s evacuation zone. Unknown dimensions. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/18c288e7-d386-4861-ade2-b1657474bee6/image10.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 10. Shimpei Takeda, Trace #1, Kegon Falls, 2012. Print made from photo-sensitive material exposed to contaminated soil in light-tight container. Unknown dimensions. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ee7e55ab-bbde-4e4a-a73f-3e5fecb24f08/image11.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 11. Shimpei Takeda, Trace #16, Lake Hayama (Mano Dam), 2012. Print made from photo-sensitive material exposed to contaminated soil in light-tight container. Unknown dimensions. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/339d49e2-0d54-4ccc-80a1-6315dfe839de/image12.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 12. U.S. Air Force, Mushroom Cloud Over Nagasaki, 1945. Analog photograph. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1254a6cb-738a-48b6-a4e0-85c5d968288d/image13.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 13. Chim : Pom/Kota Takeuchi, Finger Pointing Worker, 2011. Still from CCTV television service on Fukushima clean-up. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/17652223-fb8c-4c99-a944-88e6443c64a3/image14.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 14. Unidentified photographer, Soldier bleeding from the tongue, 1945. Analog photograph. Shogo Nagaoka Collection, Hiroshima Peace Memorial Museum. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/29e6f394-67bf-4993-88a0-1a82bcd8ad15/image15.png Read - The Piercing Punctum of Radioactive Photographs - Make it stand out Fig. 15. U.S. Military, Radio-autograph of a tropical puffer fish, 1946. Radio-autograph. From the book Operation Crossroads: The Official Pictorial Record, Wm. H. Wise & Co. https://www.canvasjournal.ca/read/beyond-propaganda-analyzing-cultural-significance-and-artistic-individuality-in-central-asian-soviet-mosaics monthly 0.5 2022-05-09 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/df573ea3-1936-4a16-88c0-0e470fa15ba8/image2.png Read - Beyond Propaganda: Analyzing Cultural Significance and Artistic Individuality in Central Asian Soviet Mosaics - Make it stand out Figure 1: Luchishkin, Sergey. An Athletes’ Parade at the Dynamo Stadium. Oil on Canvas. 1936-76. Moscow, Russia. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/9dc45581-7fa9-42dc-8558-0856db9a0800/image1.png Read - Beyond Propaganda: Analyzing Cultural Significance and Artistic Individuality in Central Asian Soviet Mosaics - Make it stand out Figure 2: Kenbaev, Moldakhmet Syzdykovich and Nikolai Vladimirovich Tsivchinskiy. Enlik-Kebek Mosaic. 1965. Mosaic tile. Hotel Almaty, Kazakhstan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1988e057-0053-43f9-ba2b-8a8319e604f0/image3.png Read - Beyond Propaganda: Analyzing Cultural Significance and Artistic Individuality in Central Asian Soviet Mosaics - Make it stand out Figure 3: Mashkov, Ilya. Girl on the Tobacco Plantations. 1930. Oil on Canvas. Moscow, Russia. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/9411b689-aa66-4321-b9e6-3150226ed91a/image4.png Read - Beyond Propaganda: Analyzing Cultural Significance and Artistic Individuality in Central Asian Soviet Mosaics - Make it stand out Figure 4: Aitiev, Satar. The Path of Enlightenment. 1978. Mosaic tile. Bishkek, Kyrgyzstan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f7164c0a-1678-46a0-bcca-c97dde775eb3/image5.png Read - Beyond Propaganda: Analyzing Cultural Significance and Artistic Individuality in Central Asian Soviet Mosaics - Make it stand out Figure 5: Sayfudinov, Anvarsho and Jalil Rasulov. Printing House Mosaic. 1983. Mosaic tile. Dushanbe, Tajikistan. https://www.canvasjournal.ca/read/is-this-what-you-want-to-see-new-visibility-strategies-in-post-soviet-queer-art monthly 0.5 2021-11-25 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/9b2242e4-af11-463e-827f-b4f4058df3a4/image1.jpeg Read - Is This What You Want to See?: New Visibility Strategies in Post-Soviet Queer Art - Make it stand out Figure 2: Guyvik, Victoria. Untitled, Russian Queer Revolution installation, 2020, photograph, unknown dimensions, https://www.dazeddigital.com/art-photography/gallery/28983/7/russian-queer-revolution-installation-2020. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/16c65b1c-5420-440a-a379-e583aa0a60df/image5.png Read - Is This What You Want to See?: New Visibility Strategies in Post-Soviet Queer Art - Make it stand out Figure 3: Radziszewski, Karol. DIK Fagazine Issue No 8, 2011, magazine, unknown dimensions, http://www.karolradziszewski.com/index.php?/projects/dik-fagazine/. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c281572a-123e-475d-a9e7-4c2df1bba139/image3.png Read - Is This What You Want to See?: New Visibility Strategies in Post-Soviet Queer Art - Make it stand out Figure 4: Kisiel, Ryszard. Filo zin no. 1. Front Page, 1990, magazine, unknown dimensions, https://artsandculture.google.com/asset/_/fAE0i68TE1R8Pg. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c69744c7-5e88-4d08-a8b5-0117de244cf7/image2.jpeg Read - Is This What You Want to See?: New Visibility Strategies in Post-Soviet Queer Art - Make it stand out Figure 5: Lipiec, Krystian. Untitled, Between Us Series, 2012, photograph, unknown dimensions, https://i-d.vice.com/en_us/article/xwmdmz/photos-that-celebrate-what-it-means-to-be-polish-and-queer. https://www.canvasjournal.ca/read/feminist-reconfigurations-of-space-in-judy-chicago monthly 0.5 2021-11-26 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637441779704-0KSLJD21AM07WVOD0FAX/image3.jpeg Read - Feminist Reconfigurations of Space in Judy Chicago https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637441777001-C3MGOVFKOVF1N5B7DBAK/image7-2.png Read - Feminist Reconfigurations of Space in Judy Chicago https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637440891513-7GJZ69SV7B738AFM115O/image1.jpeg Read - Feminist Reconfigurations of Space in Judy Chicago https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637440886610-AG8SY0OUJHIJ90QDP2KX/image4.png Read - Feminist Reconfigurations of Space in Judy Chicago https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637440756559-WYP5N07ESX0MPCUZQQYP/image8.jpeg Read - Feminist Reconfigurations of Space in Judy Chicago https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637440761419-WMA2A5797WZG1TKSO8EV/image5.jpeg Read - Feminist Reconfigurations of Space in Judy Chicago https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637440770051-02CU42JR61B31DEENG0B/image2.png Read - Feminist Reconfigurations of Space in Judy Chicago https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637440999487-4P66R7T9KWYOZN81WCYD/image6.png Read - Feminist Reconfigurations of Space in Judy Chicago https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1637441003468-KCOOYKYQMG6718N3MHLW/image9.png Read - Feminist Reconfigurations of Space in Judy Chicago https://www.canvasjournal.ca/read/god-is-gay-a-new-canon-of-christian-iconography-in-queer-art monthly 0.5 2025-02-14 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/208a04cd-52e4-4950-ac0f-9b7908392cdb/image2.png Read - God Is Gay: A New Canon of Christian Iconography in Queer Art - Make it stand out Elisabeth Ohlson Wallin, Sermon on the Mount (1998). Photograph from the Ecce Homo exhibition. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/696a0ed5-e6d4-44bf-b1e7-6be1a00096e2/image1.png Read - God Is Gay: A New Canon of Christian Iconography in Queer Art - Make it stand out Kehinde Wiley, St. Sebastian II (Columbus) (2006). Oil painting, 279.4 x 218.4 cm. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a69b4855-5ba0-46b0-bf16-01a80856c463/image3.png Read - God Is Gay: A New Canon of Christian Iconography in Queer Art - Make it stand out Gabriel Garcia Roman, Kia (2016) from the Queer Icons series. Photogravure with chine-collé and silkscreen, 15 x 18 inches. https://www.canvasjournal.ca/read/aldo-rossi-echoing-life-in-the-architecture-of-death monthly 0.5 2022-03-18 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8fb054df-5c8d-4e05-a705-5f69d93a9201/image14.jpeg Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 1: Painting of Modena Cemetery in Plan. Medium: Gouache. Signed “School of Aldo Rossi, drawn by Jesse Reiser”. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5a34d561-c098-41a9-8750-4df6d2a6be3c/Screen+Shot+2021-11-09+at+3.05.50+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 2: Modena Cemetery, San Cataldo, Italy. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5ef4499f-70b9-4a4a-be2b-b948c5531707/Screen+Shot+2021-11-09+at+3.08.57+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 3: Archittetura domestica, Aldo Rossi. Ink, ballpoint and felt pen, varnished. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b6213425-dd0f-4b36-9edc-15f9daa88458/Screen+Shot+2021-11-09+at+3.30.58+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 4: Floor plan of the whole, divided in two https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/565d6b8e-9c6a-4983-8917-b97d14e04734/Screen+Shot+2021-11-09+at+2.42.37+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 5: Perspective and section displaying the perimeter wall, the ossuary, the truncated cone and the rows of tombs. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/98e3eb91-27c1-4f0a-88cb-38ae36fc6b80/Screen+Shot+2021-11-09+at+3.51.20+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 6: Example of upper-class tombstone in Stone Mountain Cemetery during the industrial period. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3d98dfdb-af34-4406-bc16-c4921cfc76ca/Screen+Shot+2021-11-09+at+3.52.09+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 7: Close up view of the square openings in the ossuary. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/84bf15b2-f886-48e7-ad20-23467fbdbbe9/Screen+Shot+2021-11-09+at+3.53.36+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 8: Display of the storage area of a warehouse, similar to that of the ossuary (fig.7). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d5389551-a0ce-47cd-88cf-c37a15994dbc/Screen+Shot+2021-11-09+at+3.54.28+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 9: View of the ossuary as a grand open space. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/dd1361b2-9e0f-481a-8038-52ecb5dd5492/image12.jpeg Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 10: Display of the storage area of a warehouse, similar to that of the ossuary (Fig. 9). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/09dcfeb3-fc24-4ba1-a5c4-6f43c6344481/Screen+Shot+2021-11-09+at+3.57.20+PM.png Read - Aldo Rossi: Echoing Life in the Architecture of Death - Make it stand out Figure 11: Sketch of the plan juxtaposed with skeleton of a fish. https://www.canvasjournal.ca/read/divine-sodomy-michelangelo-978hb monthly 0.5 2021-11-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1632852257345-ESXZW4K5M9ET7CIT840I/Screen+Shot+2021-09-28+at+2.03.31+PM.png Read - To Gift Him Pictures of Divine Sodomy: Ambivalent Homoeroticism in Michelangelo’s Rape of Ganymede - Make it stand out Figure 1. Michelangelo Buonarroti, Rape of Ganymede, 1532. Fogg Art Museum, Cambridge. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1632852838169-XFQALQPQ5B9S6LLI1RMG/Screen+Shot+2021-09-28+at+2.13.32+PM.png Read - To Gift Him Pictures of Divine Sodomy: Ambivalent Homoeroticism in Michelangelo’s Rape of Ganymede - Make it stand out Figure 2. Michelangelo Buonarroti, Tityus, 1532. Royal Library, Windsor. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1632853272174-JNW7Q3D7X14N5NRTG4AY/Screen+Shot+2021-09-28+at+2.20.26+PM.png Read - To Gift Him Pictures of Divine Sodomy: Ambivalent Homoeroticism in Michelangelo’s Rape of Ganymede - Make it stand out Figure 3. Circle of Apollonio di Giovanni, Rape of Ganymede, 1465. Museum of Fine Arts Boston, Boston. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1632853331227-DAYK3HSKBTXWHDSHNUS4/Screen+Shot+2021-09-28+at+2.21.50+PM.png Read - To Gift Him Pictures of Divine Sodomy: Ambivalent Homoeroticism in Michelangelo’s Rape of Ganymede - Make it stand out Figure 4. After Michelangelo Buonarroti, Leda and the Swan, 1530s. The National Gallery, London. https://www.canvasjournal.ca/read/death-and-spectators monthly 0.5 2021-11-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631837677300-QGNCVXIRMWYKKGHDEYP6/Screen+Shot+2021-09-16+at+7.38.58+PM.png Read - Death and its Spectators: L’Âme des Bêtes and the Noble Savage in Oudry’s Hunting Paintings - Make it stand out Figure 1: Jean-Baptiste Oudry, Retour de chasse avec un chevreuil mort (oil on canvas, 1721; Staatliches Museum Schwerin). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631837760262-ASR00NEQ7JS3N1WP5GXN/Screen+Shot+2021-09-16+at+7.42.09+PM.png Read - Death and its Spectators: L’Âme des Bêtes and the Noble Savage in Oudry’s Hunting Paintings - Make it stand out Figure 2: Jean-Baptiste Oudry et atélier, [Cygne se tournant vers une nature morte [right] (oil on canvas, around 1725; Château de Condé en Brie) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631836981535-34MGWX7Y14DA930BRWXX/Screen+Shot+2021-09-16+at+8.01.37+PM.png Read - Death and its Spectators: L’Âme des Bêtes and the Noble Savage in Oudry’s Hunting Paintings - Make it stand out Figure 4: Jean-Baptiste Oudry, L'air (dans la série des Allégories) (oil on canvas, 1718; private collection) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1635013072434-PDFZPU49OKQVWR3LNV6F/Screen%2BShot%2B2021-09-16%2Bat%2B8.06.19%2BPM.jpg Read - Death and its Spectators: L’Âme des Bêtes and the Noble Savage in Oudry’s Hunting Paintings - Make it stand out Figure 5: Thomas Gainsborough, Girl with Pigs (oil on canvas, 1781-82; provate collection) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/905a045a-fbca-4290-b6ec-dd04615b6fa1/An_Experiment_on_a_Bird_in_an_Air_Pump_by_Joseph_Wright_of_Derby%2C_1768.jpg Read - Death and its Spectators: L’Âme des Bêtes and the Noble Savage in Oudry’s Hunting Paintings - Make it stand out Figure 6: Joseph Wright of Derby, An Experiment on a Bird in the Air Pump, 1768, Oil on Canvas, 183 cm × 244 cm, National Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631837448821-O79ATCF18RCB9NY69751/Screen+Shot+2021-09-16+at+8.10.27+PM.png Read - Death and its Spectators: L’Âme des Bêtes and the Noble Savage in Oudry’s Hunting Paintings - Make it stand out Figure 7: Jean-Baptiste Oudry, La chasse au chevreuil (oil on canvas, 1725; Musée des Beaux-Arts de Rouen) https://www.canvasjournal.ca/read/henry-scott-tuke monthly 0.5 2021-11-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1635022665911-J2088PPEFI2JYRBOQWPU/440px-Barberini_Faun_front_Glyptothek_Munich_218_n2.jpg Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Make it stand out Figure 1: Artist unknown, Barberini Faun, 200 BCE, Marble Statue, Glyptothek, Munich. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1635022785152-WXJZABIDWZHLDR9VKNY2/%27David%27_by_Michelangelo_Fir_JBU005_denoised.jpg Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Make it stand out Figure 2: Michelangelo, David, 1501-04, marble, height approximately 14’, Galleria dell’Accademia, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631735722157-X0IVZB5AE9N0F4GF5UQY/Screen+Shot+2021-09-15+at+3.55.04+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Make it stand out Figure 3: Henry Scott Tuke, Italian Boy on the Beach near Forte del Marmi, 1881. Oil Paint. Collection Michael Colloway and David Falconer. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631735838480-IUK6FBWAZ4QJDMAA4A1T/Screen+Shot+2021-09-15+at+3.57.00+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Make it stand out Figure 4: Henry Scott Tuke, August Blue, 1893. Oil Paint, Tate Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631735972818-ZTUTMVNWRXOBC1IG5T18/Screen+Shot+2021-09-15+at+3.59.20+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Make it stand out Figure 5: Gustave Caillebotte, Man at is Bath, 1884. Oil Paint, Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631736053254-LDMTQA1K33DWLJCEA7B6/Screen+Shot+2021-09-15+at+4.00.34+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Make it stand out Figure 6: Henry Scott Tuke, The Coming of Day, 1901. Oil Paint, Present Whereabouts Unknown. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631736143718-X7AQLZRTLHUEK4T06P2E/Screen+Shot+2021-09-15+at+4.02.03+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Fig. 7: Henry Scott Tuke, Cupid and Sea Nymphs, 1898-1899. Oil Paint, George Beldam Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631736149379-WXSPD2O6FA3WMOTDYWL7/Screen+Shot+2021-09-15+at+4.02.11+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Fig. 8: Henry Scott Tuke, Ruby, Gold, and Malachite, 1901. Oil Paint, Guildhall Art Gallery, London. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631736394008-AEKXGVSGYHZ3P1WARJWY/Screen+Shot+2021-09-15+at+4.05.51+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Fig. 9: Henry Scott Tuke, A Bathing Group, 1914. Oil Paint, Royal Academy of Arts. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631736400757-0HVXVODDAJIKT78Q4A9I/Screen+Shot+2021-09-15+at+4.05.56+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Fig. 10:Henry Scott Tuke, After the Bathe, circa 1921. Oil Paint, Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631736412282-14J3WXYURFPD4Y0KAADI/Screen+Shot+2021-09-15+at+4.06.01+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Fig. 11: Henry Scott Tuke, Under the Western Sun, 1917. Oil Paint, Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631737093725-PS63KSBXPNNUOW6ME575/Screen+Shot+2021-09-15+at+4.06.08+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Fig. 12: Henry Scott Tuke, Noonday Heat, 1902. Oil Paint, Tuke Collection, Falmouth. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1631737099617-UE714IL18P62R7DQZMC4/Screen+Shot+2021-09-15+at+4.06.16+PM.png Read - Henry Scott Tuke’s Nudes and the Politics of Masculinity - Fig. 13: Henry Scott Tuke, The Critics, 1927. Oil Paint, Leamington Spa Art Gallery & Museum, London. https://www.canvasjournal.ca/read/painting-as-devotion monthly 0.5 2021-11-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629678420733-GCV805KQHWZ2MCAZ2MV6/Screen+Shot+2021-08-22+at+8.20.50+PM.png Read - Painting as Devotion and Ritual Embodiment in Jin Lying’s Guanyin, 1803 - Make it stand out Figure 1: Jin Liying, Guanyin.1803. Hanging scroll, color and ink on paper. 116.6 x 44.2 cm. Collection of Zhejiang Provincial Museum, Hangzhou, China. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629678549332-X81XAA9SMH12BS2IECJW/Screen+Shot+2021-08-22+at+8.28.38+PM.png Read - Painting as Devotion and Ritual Embodiment in Jin Lying’s Guanyin, 1803 - Figure 2: Close up of Guanyin’s robes in baimiao style. Jin Liying, Guanyin.1803. Hanging scroll, color and ink on paper. 116.6 x 44.2 cm. Collection of Zhejiang Provincial Museum, Hangzhou, China. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629678548395-5C88PBOEE3TN7IITXPG3/Screen+Shot+2021-08-22+at+8.28.44+PM.png Read - Painting as Devotion and Ritual Embodiment in Jin Lying’s Guanyin, 1803 - Figure 3: Detail of Guanyin’s robes and hair. Jin Liying, Guanyin.1803. Hanging scroll, color and ink on paper. 116.6 x 44.2 cm. Collection of Zhejiang Provincial Museum, Hangzhou, China. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629678548621-1EWT1VR2I4EPY3VKFF76/Screen+Shot+2021-08-22+at+8.28.49+PM.png Read - Painting as Devotion and Ritual Embodiment in Jin Lying’s Guanyin, 1803 - Figure 4: Close up of the facial expression of Guanyin. Jin Liying, Guanyin.1803. Hanging scroll, color and ink on paper. 116.6 x 44.2 cm. Collection of Zhejiang Provincial Museum, Hangzhou, China. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629678815397-HNQ79FYWOENY2GADJX38/Screen+Shot+2021-08-22+at+8.33.25+PM.png Read - Painting as Devotion and Ritual Embodiment in Jin Lying’s Guanyin, 1803 - Figure 5: Close up of the facial expression of Shancai. Jin Liying, Guanyin.1803. Hanging scroll, color and ink on paper. 116.6 x 44.2 cm. Collection of Zhejiang Provincial Museum, Hangzhou, China. https://www.canvasjournal.ca/read/faith-ringgold-and-the-recognition-of-african-american-women-in-painting-and-quilts monthly 0.5 2021-11-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629673685305-MLA2TNYBIEY4A8RFH0KE/Screen+Shot+2021-08-22+at+7.07.36+PM.png Read - Faith Ringgold and the Recognition of African American Women in Painting and Quilts - Make it stand out Figure 1: Faith Ringgold, Feminist Series #6, 1972, acrylic on canvas, 43 x 26 ½”. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629673815670-C3BQWKTZ7ZQJOTOONT9I/28133449288_72b58675c2_z.jpeg Read - Faith Ringgold and the Recognition of African American Women in Painting and Quilts - Make it stand out Figure 2: Faith Ringgold, The Picnic at Giverny, 1991. From the French Collection Series, Part 1 #3. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629674062949-NG94J1UFW14X7BXWQ0SP/Screen+Shot+2021-08-22+at+7.13.17+PM.png Read - Faith Ringgold and the Recognition of African American Women in Painting and Quilts - Figure 3: Faith Ringgold, Café des Artistes, 1994, Acrylic on canvas: pieced fabric border. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629674059962-HKNGNP1VGOWJBH1D5T56/Screen+Shot+2021-08-22+at+7.13.29+PM.png Read - Faith Ringgold and the Recognition of African American Women in Painting and Quilts - Figure 4: Faith Ringgold, Soul Sister, 1967, oil on canvas, 36 x 18”. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629674062168-SF0CQTN42SCNZDW8ECYX/Screen+Shot+2021-08-22+at+7.13.45+PM.png Read - Faith Ringgold and the Recognition of African American Women in Painting and Quilts - Figure 5: Faith Ringgold, Who’s Afraid of Aunt Jemima? 1983. Acrylic on canvas, pieced fabric with sequins, 90 x 80”. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1629674327400-LSUD4HK91ITKINOPPCYA/Screen+Shot+2021-08-22+at+7.17.48+PM.png Read - Faith Ringgold and the Recognition of African American Women in Painting and Quilts - Make it stand out Figure 6: Faith Ringgold, Picasso’s Studio, The French Collection, Part 1, 1991. 73 x 68”, oil/canvas, pieced and printed fabric, artist’s collection. https://www.canvasjournal.ca/read/to-make-and-destroy monthly 0.5 2021-11-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612660935008-LTTNYC4Y8SVCBJR9M6T9/Screen+Shot+2021-02-06+at+8.21.58+PM.png Read - To Make and Destroy: Sculptures of Anne Whitney Figure 1: Anne Whitney, Ethiopia Shall Soon Stretch Out Her Hands to God, or Africa (1862-64), plaster, destroyed, Photograph courtesy of the Wellesley College Archives, Papers of Anne Whitney. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612661078178-JW4940RLF7ANQ24KVUSI/Screen+Shot+2021-02-06+at+8.24.21+PM.png Read - To Make and Destroy: Sculptures of Anne Whitney Figure 2: Anne Whitney, Toussaint L’Ouverture in Prison, (1869-1871), plaster, destroyed, Photograph courtesy of the Wellesley College Archives, Papers of Anne Whitney. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612661199243-KQB8BZH73HIBP35UNRMK/Screen+Shot+2021-02-06+at+8.25.34+PM.png Read - To Make and Destroy: Sculptures of Anne Whitney Figure 3: Anne Whitney, Ethiopia Shall Soon Stretch Out Her Hands to God, or Africa, (1862–64), detail of the head, plaster, destroyed, Photograph courtesy of the Wellesley College Archives, Papers of Anne Whitney. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612661232730-LQ36F4O4VL8ZD7DM2TRS/Screen+Shot+2021-02-06+at+8.27.00+PM.png Read - To Make and Destroy: Sculptures of Anne Whitney Figure 4: Anne Whitney, Ethiopia Shall Soon Stretch Out Her Hands to God, or Africa (reworked 1865–66), detail of the head, plaster, destroyed, Photograph courtesy of the Wellesley College Archives, Papers of Anne Whitney. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612661349331-FCUPILXOPJZU8TCCUSI1/Screen+Shot+2021-02-06+at+8.28.57+PM.png Read - To Make and Destroy: Sculptures of Anne Whitney Figure 5: John Quincy Adams Ward, The Freedman, (1863), Bronze, 49.8 cm, Cincinnati Art Museum, Cincinnati, Ohio. https://www.canvasjournal.ca/read/behind-the-lens monthly 0.5 2021-11-20 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612658872903-INZZD6PEOFBVRDOVVRQP/Fig+1.png Read - Behind the Lens: Contextualizing Hannah Maynard’s Photography Surrounding Indigenous Peoples Figure 1: Hannah Maynard, Haida Washerwoman (1865-66), Photograph, Provincial Archives of British Columbia, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612659014149-CHV02BVMJXZAG2J4D5VQ/Fig+2.png Read - Behind the Lens: Contextualizing Hannah Maynard’s Photography Surrounding Indigenous Peoples Figure 2: Hannah Maynard, Haida Mary (1865-66), Photograph, Provincial Archives of British Columbia, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612659068619-DGNP2G71HVC0H87LHXEE/Fig+3.png Read - Behind the Lens: Contextualizing Hannah Maynard’s Photography Surrounding Indigenous Peoples Figure 3: Benjamin Leeson, The Sunset of His Race (1913), Photograph, City of Vancouver Archives, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612659277595-JVVP6IUAY1QPGQYGY2IO/Fig+4.png Read - Behind the Lens: Contextualizing Hannah Maynard’s Photography Surrounding Indigenous Peoples Figure 4: Hannah Maynard, Untitled (1875), Photograph, British Columbia Provincial Museum, Canada https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1612659262460-UGU6VCAGLOMMAFRWLFJ9/Fig+5.jpg Read - Behind the Lens: Contextualizing Hannah Maynard’s Photography Surrounding Indigenous Peoples Figure 5: Benjamin A Haldane, Frederick Ridley. https://www.canvasjournal.ca/read/cctv monthly 0.5 2025-02-14 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1594224923843-XMZ7ANMG69SIZ4HZ6LXO/yue1 Read - Delirious Beijing: CCTV by OMA and Urban Experiments in the 21st Century Chinese Capital Figure 1: The loop of CCTV. The Loop. In OMA Official Website. Accessed April 8, 2019. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1594225048414-UZUQZ9X2L0XG7GNGFBNM/yue2 Read - Delirious Beijing: CCTV by OMA and Urban Experiments in the 21st Century Chinese Capital Figure 2: 1978 cover of Delirious New York Delirious New York. In OMA Official Website. Accessed April 8, 2019. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1594225505335-GER1DXFCJHSKP2TJLUI4/yue3 Read - Delirious Beijing: CCTV by OMA and Urban Experiments in the 21st Century Chinese Capital Figure 3: CCTV viewing from nearby residences, showing the grid pattern on the façade. CCTV Headquarters. In OMA Official Website. Accessed April 8, 2019. https://oma.eu/projects/cctv-headquarters. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1594225589722-Q8W61ADNBJU7MK9Q972E/yue4 Read - Delirious Beijing: CCTV by OMA and Urban Experiments in the 21st Century Chinese Capital Figure 4: CCTV standing with skyscrapers in USA. Koolhaas, Rem. Delirious New York: A Retroactive Manifesto for Manhattan. New York: Monacelli Press, 1994, 176. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1594225639961-FGQF149VAY9VCUVBZWRR/yue5 Read - Delirious Beijing: CCTV by OMA and Urban Experiments in the 21st Century Chinese Capital Figure 5: Exodus, or the voluntary prisoners of architecture Exodus, or the Voluntary Prisoners of Architecture. In SOCKS. Accessed April 8, 2019. https://www.canvasjournal.ca/read/inside-bernard-gilardis-outsider-art monthly 0.5 2021-11-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1590624206849-72XJMY14B560JJSW5YS3/fig1 Read - Inside Bernard Gilardi’s “Outsider Art” Figure 1: Bernard Gilardi, WIS-CON-SIN. 1995. Oil on masonite, 22 x 24 in. Portrait Society Gallery. Milwaukee, Wisconsin. https://www.canvasjournal.ca/read/burials-emuntrueem-the-sonic-power-of-evoking-emotion monthly 0.5 2021-11-10 https://www.canvasjournal.ca/read/influential-liminality-eunuch-participation-in-northern-song-dynasty-artistic-production-and-collecting-practices monthly 0.5 2021-11-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589214243308-U73XWLMEW24WUNVH0AXG/luce_fig1.jpeg Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 1: Qiao Zhongchang, Illustration to the Second Prose Poem on the Red Cliff, Northern Son dynasty. Handscroll, ink on paper, 30.48 x 1224.28 cm. Nelson-Atkins Museum of Art, Kansas City, Missouri. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589214558056-4WINTJHX2B6RYNFB7PYX/fig2.png Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices - Figure 2: Detail from Qiao Zhongchang’s Illustration to the Second Prose Poem on the Red Cliff https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589214557727-SYXC63XNYSFURF59CXST/fig3.png Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices - Figure 3: Detail from Qiao Zhongchang’s Illustration to the Second Prose Poem on the Red Cliff https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589215079167-P5SA9LSG5U8QIKFWUW7K/luce_fig4 Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 4: Li Gonglin, Mountain Villa, Northern Song dynasty. Handscroll, ink on paper, 28.9 x 364.6 cm. National Palace Museum, Taipei, Taiwan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589215225840-LY1BLIO6JNG5C8MT510K/luce_fig5 Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 5: Detail from Mountain Villa by Li Gonglin. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589215541837-CKVJP64QLDAIBKPQZ5TB/luce_fig6 Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 6: Detail, Li Gonglin after Gu Kaizhi, Admonitions of the Instructress to the Court Ladies, Northern Song dynasty. Handscroll, ink on paper, 27.9 × 600.5 cm. National Palace Museum, Beijing. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589215588662-RM6IPXD7C8QRVCIN7WXY/luce_fig7 Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 7: Detail, after Gu Kaizhi, Admonitions of the Instructress to the Court Ladies, Tang dynasty. Handscroll, ink and colours on silk, 24.37 x 343.75 cm. ©Trustees of the British Museum. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589217024018-5SRT5AMQ4NUXA2FGUUAQ/fig8.jpg Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 8: Attributed to Li Cheng, Tall Pines in a Level View, Five Dynasties or Early Northern Song. Hanging scroll, ink on silk, 126.1 x 205.6 cm, Chokaido Museum, Mie, Japan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589217078456-0GOEQT7SK2XCLTGF81NF/luce_fig9 Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 9: Anonymous (Song dynasty), in the style of Li Cheng, A Small Wintry Grove, Northern Song Dynasty. Hanging scroll, ink and light colors on silk 42.2 x 49.2 cam. National Palace Museum, Taipei, Taiwan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589217155684-ESFAEANIHQEARK9RB6C9/luce_fig10 Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 10: Guo Xi, Early Spring, 1072. Hanging scroll, ink and light colors on silk, 158.3 x 108.1 cm, National Palace Museum, Taipei, Taiwan. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589217338645-22LCCWA3XS3UDX2SCPLS/luce_fig11 Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 11: Attributed to Feng Jin, Watermill Under the Willows, Song Dynasty. Round fan mounted as album leaf, ink and color on silk, 24 x 25.8 cm. The Arthur M. Sackler Collection, Princeton University Art Museum, Princeton, New Jersey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589217602287-5K41PTCFQ2K6DXOFX76Y/luce_fig12 Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 12: Detail of Feng Jin’s Watermill Under the Willows https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1589217668650-JUYY9SWAXK82QU3QJ09O/Moulin_a%CC%80_eau%2C_Anonyme_fin_Xe_sie%CC%80cle.jpg Read - Influential Liminality: Eunuch Participation in Northern Song Dynasty Artistic Production and Collecting Practices Figure 13: Unknown artist, Section of The Water Mill, ca. 970s. Handscroll, ink and color on silk, 53.3 X 119.2 cm. Shanghai Museum https://www.canvasjournal.ca/read/plotting-nature-curiosity-and-control-in-dutch-garden-designnbsp monthly 0.5 2020-03-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583856231100-MSBUF0KX3OUM71XX4AV1/Screen+Shot+2020-03-10+at+12.03.23+PM.png Read - Plotting Nature: Curiosity and Control in Dutch Garden Design  Figure 1: Jan Saenredam, The Foolish Virgins, (c. 1601-1625). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583856377262-1LFFL90XKZGFBXUS4DXE/Screen+Shot+2020-03-10+at+12.05.59+PM.png Read - Plotting Nature: Curiosity and Control in Dutch Garden Design  - Figure 2 Frans Post, Plan of Vrijburg Palace and garden; from Barlaeus’s Rerum per Octennium in Brasilia Et alibi nuper gestarum, sub Praefectura Illustrissimi Commitis I. Mauritii Nassoviae, & Comitis, nunc Vesaliae Gubernatoris & Equitatus Foederatorum Belgii Ordd. Sub Auriaco Ductoris Historia, (1647). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583856375677-VU0HYTLFR6039O09ARTI/Screen+Shot+2020-03-10+at+12.05.34+PM.png Read - Plotting Nature: Curiosity and Control in Dutch Garden Design  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583856785939-YAE5TRYQYKM44400LYFI/image-asset.png Read - Plotting Nature: Curiosity and Control in Dutch Garden Design  Figure 3: Hofwijk, from Constantijn Huygens’s Hofwijk (1653). https://www.canvasjournal.ca/read/nbspsick-excesses-voyeurism-pathology-and-the-spectacle-of-female-pain-in-celebrity-photography monthly 0.5 2020-03-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583854372553-X015XAO5UWZX0GXSJUOS/figure_1.png Read -  “Sick Excesses”: Voyeurism, Pathology, and the Spectacle of Female Pain in Celebrity Photography https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583854372642-LQ7GKFBZ9WS45K6KA7WK/figure_2.png Read -  “Sick Excesses”: Voyeurism, Pathology, and the Spectacle of Female Pain in Celebrity Photography https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583854373549-PFGGL31SAJB6B26H50VW/figure_3.png Read -  “Sick Excesses”: Voyeurism, Pathology, and the Spectacle of Female Pain in Celebrity Photography https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583854654286-FDKV14KHNF83C9LCS8VJ/figure_4.png Read -  “Sick Excesses”: Voyeurism, Pathology, and the Spectacle of Female Pain in Celebrity Photography Figure 4: National Enquirer, Inside Whitney’s Drug Den! (2006), National Enquirer. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583854840533-ZBBB5UL206V0VRPJ2A1R/figure_5.png Read -  “Sick Excesses”: Voyeurism, Pathology, and the Spectacle of Female Pain in Celebrity Photography Figure 5: Tom Reese, Untitled (Kurt Cobain Death Scene Photograph) (1994), National Post https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583854896618-OV9FQEUXPUZVG3XDSC98/figure_6.png Read -  “Sick Excesses”: Voyeurism, Pathology, and the Spectacle of Female Pain in Celebrity Photography https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583854896819-6HKYKR3BYUL71WHU7N9X/figure_7.png Read -  “Sick Excesses”: Voyeurism, Pathology, and the Spectacle of Female Pain in Celebrity Photography https://www.canvasjournal.ca/read/fashion-exhibitions-as-participants-to-the-participatory-a-study-of-muglers-couturissime monthly 0.5 2020-03-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583852084992-RNJC06TH888OXOE1XAHB/mugler_1.jpg Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583852085250-HB5WEX0F76H3AB0NCCJ7/mugler_2.jpg Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583852085631-XUHCZ94D6PA2OZEHMVJL/mugler_3.jpg Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583852654740-W3H1VAL5OZW2R13BHNOV/mugler_4 Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” Figure 4: Fetish Style (2019), Mugler Exhibition “Couturissime,” Montreal Museum of Fine Arts, Montreal, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583852734821-P5J8EY0ZFZ9QCRJ8FJJA/mugler_5 Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” Figure 5: Acte V: Metamorphosis: Fantasy Bestiary (2019), Mugler Exhibition “Couturissime,” Montreal Museum of Fine Arts, Montreal, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583852818489-K5Q4CY8YRZEI1PCGZO50/mugler_6 Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” Figure 6: Acte VI: Futuristic and Fembot Couture (2019), Mugler Exhibition “Couturissime,” Montreal Museum of Fine Arts, Montreal, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583852859200-R5FBB8K56Y5GYHFGZ30Z/mugler_7 Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” Figure 7: Chimera in Acte V: Metamorphosis: Fantasy Bestiary (2019), Mugler Exhibition “Couturissime,” Montreal Museum of Fine Arts, Montreal, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583852968388-B11GY52DAWCE7B6S9VA8/mugler_8.jpg Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” Figure 8: Alan Strutt, Thierry-Mugler: La Chimière collection (1997), photograph, MontrealMuseum of Fine Arts, Montreal, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583853079996-WPKGRWF850Y7MDOITERR/mugler_9.jpg Read - Fashion Exhibitions as Participants to the Participatory: A Study of Mugler’s “Couturissime” Figure 9: Cyborg Bodysuit in Acte VI: Futuristic and Fembot Couture (2019), Mugler Exhibition “Couturissime,” Montreal Museum of Fine Arts, Montreal, Canada. https://www.canvasjournal.ca/read/strongthe-wendy-verse-as-resistancenbspstronga-doubleweave-reading-of-emwendys-revengeem monthly 0.5 2020-03-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583605846467-54FYG83WCXLOWFFHBL4Z/wendy_1 Read - The Wendy-verse as Resistance: A Doubleweave Reading of Wendy’s Revenge Figure 1: Scott, Walter. Wendy's Revenge. Toronto, ON: Koyoma Press, 2016. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583605976696-OKNYEADQF835G5LE9J9D/wendy_2 Read - The Wendy-verse as Resistance: A Doubleweave Reading of Wendy’s Revenge https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583606482033-0ORCBMBV9JRQK781QBFI/wendy_3 Read - The Wendy-verse as Resistance: A Doubleweave Reading of Wendy’s Revenge Figure 3: Scott, Walter. Wendy's Revenge. Toronto, ON: Koyoma Press, 2016. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1583606638099-UEEPCF4UKRJQ7CGBMYMR/wendy_4 Read - The Wendy-verse as Resistance: A Doubleweave Reading of Wendy’s Revenge Figure 4: Scott, Walter. Wendy's Revenge. Toronto, ON: Koyoma Press, 2016. https://www.canvasjournal.ca/read/stronghype-williams-as-cultural-animatorstrongnbspthe-90s-hip-hop-music-video-as-eye-witness-to-conspicuous-consumptionnbspand-new-modalities-of-globalized-tastemaking monthly 0.5 2020-03-11 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582758662469-ZVO0Y67M3WDPZASTVFS8/hype_1.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 1: MTV’s Yo! MTV Raps, (1988-95) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582758762411-GHQWT2BVSCMTXA224YWY/hype_2.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 2: BET’s Rap City, (1989-08) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582758858467-CV79PPTCS2MZJ92S1KW5/image-asset.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 3: Belly (1998) Dir. Hype Williams. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759076408-CC2TVUECRQQ56LNGRSDA/image-asset.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 4: Missy Elliott, “The Rain (Supa Dupa Fly)” (1997) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759179330-4YMKIUM8G2VSAQ42M79L/hype_5.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 5: Opening sequence. Kanye West feat. Rihanna and Kid Cudi, “All of the Lights” (2011) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759244968-A4B6QECOOCDPVK0PIKUE/hype_6.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 6: Opening sequence. Enter the Void (2009) Dir. Gaspar Noé. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759299754-88HYNFNV4MK8X6VFNMQI/hype_7.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 7: Kanye. Kanye West feat. Rihanna and Kid Cudi, “All of the Lights” (2011) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759485157-P3U43TFESV62YHPK1J92/hype_8.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 8: Rihanna. Kanye West feat. Rihanna and Kid Cudi, “All of the Lights” (2011) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759560685-RUCZLBV4GM66AYLC7VLR/hype_9.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 9: Street. Blackstreet featuring Dr. Dre & Queen Pen, "No Diggity” (1996) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759604465-02FPUDYJA0WSV9CK7V6G/image-asset.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 10: Puppet. Blackstreet featuring Dr. Dre & Queen Pen, "No Diggity” (1996) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759644176-NGSM63KYZ6Q5Q5SADYJ9/image-asset.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 11: City. Travis Scott feat. Kacy Hill, “90210” (2016) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582759705394-EZ6MA5QXOMJXK701GKHP/image-asset.png Read - Hype Williams as Cultural Animator: The 90s Hip-Hop Music Video as Eye-Witness to Conspicuous Consumption and New Modalities of Globalized Tastemaking Figure 12: Garden. Travis Scott feat. Kacy Hill, “90210” (2016) https://www.canvasjournal.ca/read/dolls-that-appall-an-analysis-of-black-canadiana-memorabilia-through-mammy-and-topsy-stereotypes-in-twentieth-century-canadian-dolls monthly 0.5 2020-03-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582126835624-EJ5VX6X2MXDTDO557T8L/dolls_1 Read - Dolls that Appall: An Analysis of “Black Canadiana Memorabilia” through “Mammy” and “Topsy” Stereotypes in Twentieth Century Canadian Dolls Fig. 1: Reliable Dolls, Topsy-1212 (c.1930-1940), Composition, Various sizes available from 10 inches to 20 inches, Canadian Museum of History, Quebec, Canada. In Reliable Dolls 1940 Catalogue. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582126935910-CESGXJGW76M7HN42BVKO/dolls_2 Read - Dolls that Appall: An Analysis of “Black Canadiana Memorabilia” through “Mammy” and “Topsy” Stereotypes in Twentieth Century Canadian Dolls Fig. 2: Reliable Dolls, Topsy-1212 (c.1930-1940), Composition not original clothing[?], 17 inches, Private Collection, Toronto, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582127027908-G9QLZ9XFOOD9XVWDJQ5L/dolls_3 Read - Dolls that Appall: An Analysis of “Black Canadiana Memorabilia” through “Mammy” and “Topsy” Stereotypes in Twentieth Century Canadian Dolls Fig. 3: Reliable Dolls, Topsy-1316 (c.1930-1940), Composition, Various sizes available from 10 inches to 20 inches, Canadian Museum of History, Quebec, Canada. In Reliable Dolls 1940 Catalogue. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582127092257-JWOVT0C7AU0R5MNJAPDX/dolls_4 Read - Dolls that Appall: An Analysis of “Black Canadiana Memorabilia” through “Mammy” and “Topsy” Stereotypes in Twentieth Century Canadian Dolls Fig. 4: Reliable Dolls, Topsy-1316 (c.1930-1940), Composition not original clothing[?], 12 inches, Private Collection, Toronto, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582127155191-6V8U26MZ1X6I7MJNCA3G/dolls_5 Read - Dolls that Appall: An Analysis of “Black Canadiana Memorabilia” through “Mammy” and “Topsy” Stereotypes in Twentieth Century Canadian Dolls Fig. 5: Anonymous, Black Female Doll holding White Child (c.1935), Fibre: cotton, velvet, skin: leather, Synthetic: plaster, glass, metal, 34 x 17.2 cm, McCord Museum, Montreal, Canada. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582127240789-C5TU3V6JVWVBGWR0SUYU/dolls_6 Read - Dolls that Appall: An Analysis of “Black Canadiana Memorabilia” through “Mammy” and “Topsy” Stereotypes in Twentieth Century Canadian Dolls Fig. 6: Reliable Dolls, Chuckles-11166 (c.1930-1940), Composition, Various sizes available from 14 inches to 20 inches, Canadian Museum of History, Quebec, Canada. In Reliable Dolls 1940 Catalogue. https://www.canvasjournal.ca/read/for-everyone-an-isolated-garden monthly 0.5 2020-03-10 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582057909416-B9HGJAE5U77RJU56MN8X/isolated_garden_figure1 Read - For Everyone an Isolated Garden Figure 1. “Terrace Door” Meredith Dixon Slide Collection https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582058389255-27TWWY91WW315ETFQOLC/isolated_garden_figure2 Read - For Everyone an Isolated Garden Figure 2. Huguette Fontaine and her husband dancing at a neighbourhood house, Repentigny, 1972 [12]. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582059422938-2BKRCLJVO71YA9W3NXAW/isolated_garden_figure3 Read - For Everyone an Isolated Garden Figure 3. Huguette Fontaine attending a dinner at a neighbour’s house, Repentigny, 1969 [13]. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582061550404-ZF0E3XTSX8BTXCOJ1A3D/isolated_garden_figure4 Read - For Everyone an Isolated Garden Figure 4. Typical bungalow in Toronto, Ontario by architect J. L. Blatherwick, 1960 [18]. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582061859101-7FI2IJSJIHAO7NAINV3L/isolated_garden_figure5 Read - For Everyone an Isolated Garden Figure 5. Grouping of houses from Housing Design Part I, Ottawa, 1952[19]. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582067221855-BMITTXU6H9000654AW1L/isolated_garden_figure6 Read - For Everyone an Isolated Garden Figure 6. Sizable backyard of 1960s Toronto House[20]. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582067296867-VMMOMSJHKT7H5NHDX8QE/isolated_garden_figure7 Read - For Everyone an Isolated Garden Figure 7. Habitat 67 Unit Configuration Plans[24]. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582067387752-9XO6GXD696OVCQPWIKE3/isolated_garden_figure8 Read - For Everyone an Isolated Garden Figure 8. Huguette Fontaine’s backyard in Repentigny with children and friends, 1967[27]. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582067541723-A6MX1L72DFD1552G7K0P/isolated_garden_figure9 Read - For Everyone an Isolated Garden Figure 9. Aerial View of Habitat 67 circling children’s playgrounds[31]. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1582067598305-0OQJ95IP5DUEXJYPF80F/isolated_garden_figure10 Read - For Everyone an Isolated Garden Figure 10. Expo 67 Map including Habitat 67 (circled in red), the general downtown area (circled in white) and the highways available to reach the city from the island.[34] https://www.canvasjournal.ca/read/blog-post-one-jcmbw monthly 0.5 2020-02-09 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580750841615-ZORELXUX16AI3LRJ22MS/cahuh1.jpg Read - Intersecting Identities in the Images of Claude Cahun  https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580751007488-3PVD74HWTU8QTLZ7O0T6/cahuh2.png Read - Intersecting Identities in the Images of Claude Cahun  Figure 2: Unknown photographer, portrait of Maurice Schwob, 1917, private collection https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580751055343-WBF0Q4CS6U0DW97MX8CS/cahuh3.jpg Read - Intersecting Identities in the Images of Claude Cahun  Figure 3: Claude Cahun, untitled self-portrait (star of David), circa 1926, silver-gelatin print, 11.2 x 8.2 cm, collection of Leslie Tonkonow and Klaus Ottmann https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580751108794-C7E2PEWAYI0CJ6X1R5J9/cahun4.png Read - Intersecting Identities in the Images of Claude Cahun  Figure 4: Claude Cahun, untitled self-portrait, (1929), silver-gelatin print11,7 x 9 cm Musée des Beaux-Arts, Nantes https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580751161662-1SLCDI8FIDT26MV73EOP/cahun5.png Read - Intersecting Identities in the Images of Claude Cahun  Figure 5: Claude Cahun, Self Portrait (with Nazi badge between her teeth), 1945 https://www.canvasjournal.ca/read/blog-post-two-ltly8 monthly 0.5 2020-02-09 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580753041390-2ZIZ65GQY5RAEA56TZ0W/figure1.jpg Read - Crafting Identity: Rembrandt’s Early Self-Portraiture and His Approach to the Market Figure 1: Rembrandt, Self-portrait, 1628-1629, Rijksmuseum, Amsterdam, 22.6x18.7cm https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580753073721-LXF5GU53TCHDQ3NA5665/figure2.jpg Read - Crafting Identity: Rembrandt’s Early Self-Portraiture and His Approach to the Market Figure 2: Rembrandt, History Painting, 1626, Museum De Lakenhal, Leiden, 89.8x121cm https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580753110513-NWZTUW3DN1KR8LNB1GHC/image-asset.jpeg Read - Crafting Identity: Rembrandt’s Early Self-Portraiture and His Approach to the Market Figure 3: Albrecht Dürer, 1491, Universitätsbibliothek, Erlangen https://www.canvasjournal.ca/read/blog-post-three-hchje monthly 0.5 2020-02-09 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580752127486-84HUXDNPGZ3EII2W3V8C/Screen+Shot+2020-02-03+at+11.38.07+AM.png Read - The Warning Within Zach Blas’s Facial Weaponization Suite Fig. 1: Zach Blas, Facial Weaponization Suite, Fag Face Mask, 2011. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580752164723-OW64L2K9Q567AZLTBD66/ZACH+2.jpg Read - The Warning Within Zach Blas’s Facial Weaponization Suite Fig. 2: Charles Henri Joseph Cordier, Vénus Africaine, Cast c. 1855-1900. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580752226206-OHAPFA2AK1M6YQO77RMQ/ZACH+3.jpg Read - The Warning Within Zach Blas’s Facial Weaponization Suite Fig. 3: Charles Henri Joseph Cordier, Abyssinian Girl, 1866. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580752288669-55LI8P7OM1ANZO0P0JVB/ZACH+4.jpg Read - The Warning Within Zach Blas’s Facial Weaponization Suite Fig. 4: Charles Henri Joseph Cordier, The Algerian, c. 1850-57. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580752337947-RRTZQEY3T2MCD0PLM6C5/ZACH+5.png Read - The Warning Within Zach Blas’s Facial Weaponization Suite Fig. 5: Zach Blas, Facial Weaponization Suite, Fag Face Mask, 2011. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580752407144-X28EAYS30VMDA12ZOG9T/ZACH+6.png Read - The Warning Within Zach Blas’s Facial Weaponization Suite Fig. 6: Zach Blas, Facial Weaponization Suite, Fag Face Mask, 2011. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580752467903-S3Q4WDVJFQTJ4IXGUU05/ZACH+7.png Read - The Warning Within Zach Blas’s Facial Weaponization Suite Fig. 7: Zach Blas, Facial Weaponization Suite, Fag Face Mask, 2011. https://www.canvasjournal.ca/read/performing-excess-performing-affect-an-affective-investigation-of-cindy-shermans-untitled-film-still-27 monthly 0.5 2020-02-05 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580763184675-6NZUDVYAKVR4NSIKJ52N/fig1.jpg Read - Performing Excess, Performing Affect: An Affective Investigation of Cindy Sherman’s Untitled Film Still #27 Fig. 1: Cindy Sherman, Untitled Film Still #27 (1979), Gelatin silver print, 24 x 17 cm, Museum of Modern Art (MoMA), New York City, USA. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580763251686-2F7835T1XOBZSGJJQD1M/fig2.png Read - Performing Excess, Performing Affect: An Affective Investigation of Cindy Sherman’s Untitled Film Still #27 Fig. 2: Kirk Varnedoe, Paola Antonelli, Joshua Siegel, “Installation view of the Exhibition, ‘MoMA2000, Open Ends: Actual Size,’” September 28, 2000—March 4, 2001, IN1874.27, Museum of Modern Art (MoMA), New York City, NY, (date of last access 09 December 2018). https://www.canvasjournal.ca/read/furnishing-history-curating-authenticity-at-versailles monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581201055522-9NXMLTS8KSPQPPN1YXJY/FIG+1.jpg Read - Furnishing History: Curating Authenticity at Versailles Fig. 1: A chair made by Louis Delanois for Louis XV’s mistress Madame du Barry. Courtesy of Versailles. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581201083157-29WHGYOYQGRQ243JUEEK/FIG+2.jpg Read - Furnishing History: Curating Authenticity at Versailles Fig. 2: A suite of four Louis XVI gilt- walnut armchairs stamped by Louis Delanois that sold at Christie's Paris in 2015. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581201116594-WGUQ1HPW2BCM2ECTF41X/FIG+3.jpg Read - Furnishing History: Curating Authenticity at Versailles Fig. 3: Thomas Garnier, “View of the Palace from the Parterre.” Château De Versailles , Versailles, France. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581201151346-PTNN3KBBWKUZ0Y20HLBO/FIG+4.jpg Read - Furnishing History: Curating Authenticity at Versailles Fig. 4: Thomas Garnier, “Madame Victoire’s Private Chamber.”Château De Versailles, Versailles, France. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581201186971-1AR8NP0GXHLKY8CQ64Y5/FIG+5.jpg Read - Furnishing History: Curating Authenticity at Versailles Fig. 5: Christian Milet, “Galerie des Glaces: vue générale, torchères,” Château De Versailles, Versailles, France. https://www.canvasjournal.ca/read/propaganda-prosperity-and-the-sea-distortion-in-jacopo-debarbaris-view-of-venice monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581200416613-CI5BCU1U5LQGGF93X7RS/FIG+1.png Read - Propaganda, Prosperity, and the Sea: Distortion in Jacopo de'Barbari's View of Venice Fig. 1 Jacopo de’Barbari, View of Venice, 1500, woodcut, 4’5” x 9’3” (1.4 x 2.8 m). Museo Civico Correr, Venice. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581200450923-29ELEYMWBPXSXYM9D9KB/FIG+2.png Read - Propaganda, Prosperity, and the Sea: Distortion in Jacopo de'Barbari's View of Venice Fig. 4 Marco Polo’s departure from Venice, from the Travels of Marco Polo, c. 1400. Illumination on parchment, 6¼ x 7½” (16 x 19 cm). Bodleian Library, Oxford. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581200483233-M8CZVU1WF23TN4VY5SAI/FIG+3.png Read - Propaganda, Prosperity, and the Sea: Distortion in Jacopo de'Barbari's View of Venice Fig. 5 Lion of St. Mark, 13th Century, Museo Correr, Venice. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581200517091-IGAKKN800332J5SB6DHY/FIG+4.png Read - Propaganda, Prosperity, and the Sea: Distortion in Jacopo de'Barbari's View of Venice Fig. 2 Jacopo de’Barbari, View of Venice, 1500. Detail: Neptune. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581200539579-ZWTDXSJUCH766NNIZVIS/FIG+5.png Read - Propaganda, Prosperity, and the Sea: Distortion in Jacopo de'Barbari's View of Venice Fig. 3 Jacopo de’Barbari, View of Venice, 1500. Detail: Mercury. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581200570952-6LJ9ZS43O1WNC12L1PNC/FIG+6.png Read - Propaganda, Prosperity, and the Sea: Distortion in Jacopo de'Barbari's View of Venice Fig. 7 Jacopo de’Barbari, View of Venice, 1500. Detail: Piazza di San Marco. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581200595569-54HNFJJN2A0SQC9EXG9U/FIG+7.png Read - Propaganda, Prosperity, and the Sea: Distortion in Jacopo de'Barbari's View of Venice Fig 6 Joseph Heintz the Younger, Bird’s Eye View of Venice. Oil on canvas, mid-17th c. Museo Correr, Venice. https://www.canvasjournal.ca/read/the-enchantment-of-metapicture-velzquezs-las-hilanderas monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199805937-0NWZ39J3F5LFMHXJ4AE8/FIG+1.png Read - The Enchantment of Metapicture: Velázquez’s Las Hilanderas Fig. 1 Diego Rodríguez de Silva y Velázquez, The Spinners, or the Fable of Arachne (w ithout later additions), 1655-1660, oil on canvas, 167 × 252 cm, Museo del Prado, Madrid, https://www.museodelprado.es/en/the-collection/art-work/the-spinners-or-the-fable-of-arachne/3d8e510d-2acf-4efb-af0c-8ffd665acd8d. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199859006-35AW3W5SABSYXBME0C1O/FIG+2.png Read - The Enchantment of Metapicture: Velázquez’s Las Hilanderas Fig. 2 Saul Steinberg, The Spiral, from New World series, 1961, ink on paper, 37 × 29 cm. http://adambaumgoldgallery.com/steinberg/2016/steinberg2016.html. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199876590-6YWMVP5E5X0G8RD5T2IN/FIG+3.png Read - The Enchantment of Metapicture: Velázquez’s Las Hilanderas Fig. 3 Diego Rodríguez de Silva y Velázquez, The Spinners, or the Fable of Arachne (with later additions), 1655-1660, oil on canvas, 220 × 289 cm, Museo del Prado, Madrid, https://library.artstor.org/#/asset/AWSS35953_35953_31697830. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199911252-KH0Y1P4VGXJV3FK4W087/FIG+4.png Read - The Enchantment of Metapicture: Velázquez’s Las Hilanderas Fig. 4 Titian, Rape of Europa, 1562, oil on canvas, 178 × 205 cm, Isabella Stewart Gardner Museum, Boston, https://www.gardnermuseum.org/experience/collection/10978. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199938658-CYBI5606V1U80346O68X/FIG+5.png Read - The Enchantment of Metapicture: Velázquez’s Las Hilanderas Fig.5 Peter Paul Rubens, The Rape of Europe (Copy after Titian), 182.5 × 201.5 cm, Museo del Prado, Madrid, https://www.museodelprado.es/en/the-collection/art-work/the-rape-of-europe/a136a9c4-3a2f-44bd-ab8a-97fd47c30d7e. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199968711-U7A6SP7QVV39758TWVIZ/FIG+6.png Read - The Enchantment of Metapicture: Velázquez’s Las Hilanderas Fig. 6 Peter Paul Rubens, Pallas and Arachne (Primary Title), 26.67 × 38.1 cm, Virginia Museum of Fine Arts, Richmond, https://www.vmfa.museum/piction/6027262-8059131/. https://www.canvasjournal.ca/read/luvre-hiroshima-dyves-kleinnbsp-le-vide-pictural-comme-mtaphore-apocalyptique monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199402877-1TI4W6VNB3OE49X9X1O6/Screen+Shot+2019-05-05+at+6.04.07+PM.png Read - L’œuvre Hiroshima d’Yves Klein : le vide pictural comme métaphore apocalyptique Figure 1. Yves Klein, Hiroshima, Anthropométrie 79, 1961. Pigment sec et résine synthétique sur papier sur toile, 139.7 x 303.3 cm. https://www.canvasjournal.ca/read/an-ambiguous-instant-oiran-or-takahashi-yuichis-portrayal-of-a-plural-japan monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199026974-TFPMGACFAS5788U13V59/FIG+1.jpg Read - An Ambiguous Instant: Oiran, or Takahashi Yuichi’s Portrayal of a Plural Japan Fig. 1. Takahashi Yuichi, Oiran, 1872. Oil on canvas, 77.5 x 55 cm. Tokyo University of Fine Art and Music Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199099028-XQVPN15G4TXJYAZO47CL/FIG+2.png Read - An Ambiguous Instant: Oiran, or Takahashi Yuichi’s Portrayal of a Plural Japan Left: Fig. 2. Takahashi Yuichi, Salmon, 1877. Oil on canvas, 139 x 46.6 cm. Tokyo University of Arts Collection. Right: Fig. 3. Takahashi Yuichi, Portrait of Emperor Meiji, 1880. Oil on canvas, Dimensions unknown. Imperial Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199146362-MVOP097O73QT0HWTHKQN/FIG+4.png Read - An Ambiguous Instant: Oiran, or Takahashi Yuichi’s Portrayal of a Plural Japan Left. Fig. 4. Kikugawa Eizan, Twelve Hours in the Pleasure Quarters: Daytime, Hour of the Snake, Courtesan Tomoshie of the Daimonji. 19th century. Ink and color on paper; woodblock print, 37.9 x 25.5 cm. Minneapolis Institute of Art: The Hill Collection. Right. Fig. 5. Kitagawa Utamaro, Karagoto of the Chōjiya Brothel in Edo-chō Nichōme, from the series A Comparison of Courtesan Flowers,1801. Ink and color on paper; woodblock print. Honolulu Museum of Art Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581199188129-PV4CM4YJUCVDBN8ZTQDJ/FIG+6.png Read - An Ambiguous Instant: Oiran, or Takahashi Yuichi’s Portrayal of a Plural Japan Left. Fig. 6. Kuroda Seiki, Maiko, 1893. Oil on canvas, 80.4 x 65.3 cm. Tokyo National Museum Collection. Right. Fig. 7. Kondo Shiiun, Comparison of New Ukiyo-e Beauties: June, Irises, c. 1918. Ink and color on paper; woodblock print, 43.9 x 28.5 cm. Scholten Japanese Art Collection. https://www.canvasjournal.ca/read/eroticism-in-repulsion-an-affective-reading-of-carole-schneemans-meat-joy monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581198727499-SG8GZ7MR97QDY5ERYWY4/FIG+1.jpg Read - Eroticism in Repulsion: An Affective Reading of Carole Schneeman’s “Meat Joy” Carolee Schneemann, Meat Joy. Chromogenic colour print of the performance in New York. 4 × 5" (10.2 × 12.7 cm). © 2017 Carolee Schneemann. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581198757647-VZKQF8696J0BF0MTSTHP/FIG+2.jpg Read - Eroticism in Repulsion: An Affective Reading of Carole Schneeman’s “Meat Joy” Meat Joy, 1964. chromogenic colour print of the performance in New York. © 2018 Carolee Schneemann/Artists Rights Society (ARS), New York; The Museum of Modern Art, P.P.O.W, and Galerie Lelong, New York. https://www.canvasjournal.ca/read/seeing-saying-doing-john-bergers-ways-of-seeing-and-sir-kenneth-clarks-civilisation monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581198488658-B95AQISW1TFZXTGX3CYT/FIG+1.jpg Read - Seeing, Saying, Doing: John Berger’s “Ways of Seeing” and Sir Kenneth Clark’s “Civilisation” Sir Kenneth Clark in Cluny Monastery, France, in the first episode of Civilization (source: BBC) https://www.canvasjournal.ca/read/perception-and-the-body-in-vito-acconcis-blinks monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581198141523-YWC49VQSAN6C4BTPID4L/FIG+1.jpg Read - Perception and the Body in Vito Acconci’s “Blinks” Fig. 1. Vito Acconci, Blinks , afternoon, November 13, 1969, Kodak Instamatic 124, b/w film. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581198177911-8TUSLPFS4XAX2Y5LG6JZ/FIG+2.jpg Read - Perception and the Body in Vito Acconci’s “Blinks” Fig. 2: Vito Acconci, Following Piece , from “Street Works”, October 3-29, 1969, activity. https://www.canvasjournal.ca/read/transcending-common-understandings-of-conceptual-art-an-analysis-of-adrian-pipers-what-will-become-of-me-1985-ongoing monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581197747949-CVB5F1CKCC4333M3BBQM/FIG+1.jpg Read - Transcending Common Understandings of Conceptual Art: An Analysis of Adrian Piper’s "What Will Become of Me" (1985, ongoing) Fig. 1: Adrian Piper, What Will Become of Me (1985-). Framed text, glass jars, hair, fingernails, and skin. The Museum of Modern Art, New York City, USA. https://www.canvasjournal.ca/read/pronkstilleven-prioritizing-visual-exercise-in-a-world-of-vanitas monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581197378805-5DL1LLTJN1QE2SS2JD1I/FIG+1.jpg Read - "PRONKSTILLEVEN": PRIORITIZING VISUAL EXERCISE IN A WORLD OF VANITAS Fig. 1. Abraham Van Beyeren, Still Life with a Silver Wine Jug, early 1660s. Oil on canvas. 99.7cm x 82.6 cm. The Cleveland Museum of Art, Cleveland, USA. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581197519105-YQN7MLSXQZKZ2EEIVHXQ/FIG+2.jpg Read - "PRONKSTILLEVEN": PRIORITIZING VISUAL EXERCISE IN A WORLD OF VANITAS Fig. 2. Jan Baptist Weenix, Still Life with a Dead Swan, 1651. Oil on canvas. 152.4 x 153.67 cm. The Detroit Institute of Arts, Detroit, USA. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581197548957-TV7C3SSMIXFV22ANRHNI/FIG+3.jpg Read - "PRONKSTILLEVEN": PRIORITIZING VISUAL EXERCISE IN A WORLD OF VANITAS Fig. 3. Pieter Claesz, Vanitas with Violin and Glass Ball, 1628. Oil on oak. 35.9 x 59 cm. Germanisches Nationalmuseum, Nuremberg, Germany. https://www.canvasjournal.ca/read/divergence-amp-fragmentation-contemporary-indigenous-art-in-the-mapped-global-world monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581196374772-79YVY4R5AD8YQYAPZKAE/FIG+1.jpg Read - Divergence & Fragmentation: Contemporary Indigenous Art in the Mapped “Global” World Figure 1. Christi Belcourt, A Work in Progress, 2014, acrylic and paper on canvas. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581196422006-VNB1E7FGSHWH0UV0NKD0/FIG+2.jpg Read - Divergence & Fragmentation: Contemporary Indigenous Art in the Mapped “Global” World Figure 3. Christi Belcourt, Goodland, 2014, mixed media on canvas. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581196453973-OS9D8LL5C1TUDMKG8L1R/FIG+3.jpg Read - Divergence & Fragmentation: Contemporary Indigenous Art in the Mapped “Global” World Figure 4. Christi Belcourt, Goodland, 2014, mixed media on canvas (detail). https://www.canvasjournal.ca/read/doing-differently-now-lubaina-himid-and-the-future-of-britains-memorial-landscape monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581196060827-3961B8CIZ02TJXVO2ZBK/FIG+1.jpg Read - Doing Differently Now: Lubaina Himid and the Future of Britain’s Memorial Landscape https://www.canvasjournal.ca/read/public-displays-of-mastery-judith-leyster-and-dutch-women-artists-of-the-seventeenth-century monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581195517632-LM9BXFVTA9ODCCN70TJ8/fig+1.jpg Read - Public Displays of Mastery: Judith Leyster and Dutch Women Artists of the Seventeenth Century Figure 1. Maria Sibylla Merian. “Metamorphoses on the stinging nettle plant.” Plate 26, The Caterpillar’s Marvelous Transformation and Strange Floral Food, 1679. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581195555169-K1JPGW6DG386X9RNL2DB/FIG+2.jpg Read - Public Displays of Mastery: Judith Leyster and Dutch Women Artists of the Seventeenth Century Figure 2. Judith Leyster, Self-Portrait, 1633. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581195588286-25Y1OG68CEFB73NWM56E/FIG+3.jpg Read - Public Displays of Mastery: Judith Leyster and Dutch Women Artists of the Seventeenth Century Figure 3. Job Berckheyde, Baker Blowing His Horn, 1681. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581195616726-3SYXSHOB15S9GKP9G07I/FIG+4.jpg Read - Public Displays of Mastery: Judith Leyster and Dutch Women Artists of the Seventeenth Century Figure 4. Clara Peeters, Still Life With Flowers, 1611. https://www.canvasjournal.ca/read/public-art-and-the-global-in-montreal-a-case-study-of-jaume-plensas-source monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581196916720-0U2UWUFJ05DQSULH5T70/FIG+1.jpg Read - Public Art and the Global in Montreal: A Case Study of Jaume Plensa’s Source https://www.canvasjournal.ca/read/the-multiple-dimensions-of-david-ruben-piqtoukuns-our-spirits-they-soar-high monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186697378-PE5H09QPK1KRJP93LG5U/FIG+1.jpg Read - The Multiple Dimensions of David Ruben Piqtoukun’s Our Spirits: They Soar High David Ruben Piqtoukun, Our Spirits: They Soar High, 2007. Steel, paint, field stones, granite and dolomite, 84 x 96.1 in. Indian and Northern Affairs Canada Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186734024-3CJKDAQB6VDTYCFBR67C/FIG+2.jpg Read - The Multiple Dimensions of David Ruben Piqtoukun’s Our Spirits: They Soar High Robert Smithson, Nonsite (Line of Wreckage), 1968. Painted aluminium container with stones, framed map, and three photo panels, 59 x 70 x 12 1/2 in. Milwaukee Art Museum Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186768709-K7XRNPC4EEMWY4SMQVGG/FIG+3.jpg Read - The Multiple Dimensions of David Ruben Piqtoukun’s Our Spirits: They Soar High Christo and Jeanne Claude, Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968. Fabric, rope, and coastline (natural site), 2.4 kilometres. Digital photograph by Shunk-Kender. Christo and Jeanne Claude digital collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186800847-3XC52A9OT3FJNBI75KQ3/FIG+4.jpg Read - The Multiple Dimensions of David Ruben Piqtoukun’s Our Spirits: They Soar High Jean Brillant, Porter la nature, current project [2017]. Steel and stones, unspecified dimensions. Photograph from the artist’s website. www.jeanbrillant.com/porter-la-nature/ https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186824093-C3L0GUXCA1XWP0QVT7WZ/FIG+5.jpg Read - The Multiple Dimensions of David Ruben Piqtoukun’s Our Spirits: They Soar High El Lissitzky, Proun Vrashchenia, 1919. Oil painting, 49.7 x 34.5 cm. Private Collection. https://www.canvasjournal.ca/read/the-reflection-of-age-and-beauty-in-titians-late-style monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186192338-1BDAR06FTPT4IY02NUQH/FIG+1.jpg Read - The Reflection of Age and Beauty in Titian’s Late Style Figure 1. Titian, Portrait of a Man in a Red Cap, c. 1516. Oil on canvas (lined), The Frick Collection, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186222341-QZ60J67ZKT1TFGK58ICF/FIG+2.jpg Read - The Reflection of Age and Beauty in Titian’s Late Style Figure 2. Titian, Portrait of Pietro Aretino, c. 1537, Oil on canvas (lined), The Frick Collection, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186259466-TKU7MNER6UCZUQXDAM8Z/FIG+3.jpg Read - The Reflection of Age and Beauty in Titian’s Late Style Figure 3. Titian, Portrait of Pietro Aretino, 1545, oil on canvas, 96.7 cm × 76.6 cm, Palazzo Pitti, Florence. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186292907-6DZNZ1USF1ILH7Z4M1MV/FIG+4.jpg Read - The Reflection of Age and Beauty in Titian’s Late Style Figure 4. Titian, Philip II in Armour, 1550-1551, oil on canvas, 193 x 111 cm, Museo del Prado, Madrid. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581186333741-UCP3HKBU1ELCM2RH7DAT/FIG+5.jpg Read - The Reflection of Age and Beauty in Titian’s Late Style Figure 5. Titian, Venus with the Mirror, c. 1555, oil on canvas, 124.5 x 105.5 cm, National Gallery of Art, Washington DC. https://www.canvasjournal.ca/read/composing-a-room-of-ones-own-feminine-and-erotic-space-in-the-work-of-vanessa-bell monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185542317-0EJZ2HEXK26N0B6F17Y6/FIG+1.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 1. Vanessa Bell. Abstract Painting, 1914. Oil on canvas. London, Tate Modern. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185582652-HGG553IO707O9VXFGX5E/FIG+2.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 2. Vanessa Bell. Nude with Poppies, 1916. Oil on canvas. Swindon, Swindon Museum and Gallery. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185617703-V1KFLMTMNMYU4D9PAGCV/FIG+3.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 3. Vanessa Bell. Painted Omega Screen (Tents and Figures), 1913. Oil on canvas. London, Victoria and Albert Museum. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185634913-1O65RHI6EOAKK7F9L0OL/FIG+4.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 4. Paul Cézanne. Les Grandes Baigneuses, 1906. Oil on canvas. Philadelphia, Philadelphia Museum of Art. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185662469-KWZHH1K3BO2EBIF377BV/FIG+5.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 5. Vanessa Bell. The Tub, 1917. Oil on canvas. London, Tate. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185695817-RT3EGWU94N7FU1HBY4L9/FIG+6.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 6. Vanessa Bell. Haystack, Asheham, 1912. Oil on canvas. Northampton, Smith College Museum of Art. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185732786-Q2L9ON1RX7PYAQ09641Y/FIG+7.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 7. Vanessa Bell. Still Life on Corner of Mantelpiece, 1914. Oil on canvas. London, Tate. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185766599-6EFHY0Q4RIXXVMXP6ZM5/FIG+8.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 8. Vanessa Bell. Apples, 46 Gordon Square, 1910. Charleston, The Charleston Trust. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185808220-IGX7L6VRLDH9X8P2E0JA/FIG+9.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 9. Vanessa Bell. The Open Door, 1926. Oil on board. Bolton, Bolton Museum. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185851091-ESXIGKIPRS0W7BZM9I5G/FIG+10.png Read - Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell Figure 10. Vanessa Bell. Self-Portrait, 1915. Oil on canvas. New Haven, Yale Center for British Art. https://www.canvasjournal.ca/read/re-examining-a-radical-the-subtle-feminism-of-vanessa-bell monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185232865-AL6MIG4EPC0S9VEOJGHN/FIG+1.jpg Read - Re-examining a Radical: The Subtle Feminism of Vanessa Bell Figure 1. Elfriede Lohse-Wächtler, Lissy (1931), painting, Städel Museum, Frankfurt, Germany. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185263021-5GD003LNX8BB7IAK71YR/FIG+2.png Read - Re-examining a Radical: The Subtle Feminism of Vanessa Bell Figure 2. Vanessa Bell, The Other Room, late 1930s. Oil on Canvas, 161x174 cm. Collection of Bryan Ferry. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581185290447-JFKUT67CFK7CZILIHJ3G/FIG+3.png Read - Re-examining a Radical: The Subtle Feminism of Vanessa Bell Figure 3. Vanessa Bell, Interior with the Artist’s Daughter, 1935-6. Oil on Canvas, 73.7x61 cm. The Charleston Trust, East Sussex, United Kingdom. https://www.canvasjournal.ca/read/horror-on-the-margins-embodying-otherness-in-craft-media monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581184932214-3C4DOYIQA06L51KIPT85/FIG+1.png Read - Horror on the Margins: Embodying Otherness in Craft Media Figure 2. Beccy Ridsdel, Untitled from Art/Craft Series, 2016. Ceramic, Beccy Ridsdel Ceramics. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581184965813-IB7MIPVM4JT28L4Q9RGK/FIG+2.jpg Read - Horror on the Margins: Embodying Otherness in Craft Media Figure 3. Shary Boyle, Untitled, 2005. Porcelain, china paint, lustre, Shary Boyle Sculpture. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581184998147-HNDRPOMNCFS7XH9M63LG/FIG+3.jpg Read - Horror on the Margins: Embodying Otherness in Craft Media Figure 4. Louise Bourgeois, She Lost It, 1992. Fabric, embroidery floss, Museum of Modern Art, New York. https://www.canvasjournal.ca/read/minimalism-and-meaning-making-the-self-referentialism-of-frank-stellas-black-paintings monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581184621079-TV2MMF9KIJHDXVBXAH69/FIG+1.jpg Read - Minimalism and Meaning-Making: The Self-Referentialism of Frank Stella’s Black Paintings Figure 1 Frank Stella. The Marriage of Reason and Squalor, II. Enamel on canvas, 308.9 × 184.9 cm, 1959. The Whitney Museum of American Art, New York, NY. https://www.canvasjournal.ca/read/looking-for-an-audience-princess-nokia-afropunk-festival-and-the-cultural-politics-of-sound monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581184296591-K3C0YFZY1C5DUU3KA84U/FIG+1.jpg Read - Looking for an Audience: Princess Nokia, Afropunk Festival, and the Cultural Politics of Sound Figure 1. Milah Libin, Tomboy, 2016. Screenshot. YouTube. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581184313344-XOEV74SZR4UQ4A5A6H88/FIG+2.jpg Read - Looking for an Audience: Princess Nokia, Afropunk Festival, and the Cultural Politics of Sound Figure 2. Roger Kisby, Princess Nokia at Afropunk, 2014. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581184344136-2PTS5A9PRZ6OUSGTBDLX/FIG+3.jpg Read - Looking for an Audience: Princess Nokia, Afropunk Festival, and the Cultural Politics of Sound Figure 4. Roger Kisby, Princess Nokia at Afropunk, 2014. https://www.canvasjournal.ca/read/the-urbanization-of-chinas-landscape-art-contemporary-artist-yang-yongliang-reimagines-the-ideology-and-style-of-the-northern-songs-landscapes monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581184016045-N4TRYSC28NV7093CCF2Q/FIG+1.jpg Read - The Urbanization of China's Landscape Art: Contemporary Artist Yang Yongliang Reimagines the Ideology and Style of the Northern Song’s Landscapes Fig. 1 Yang Yongliang, View of Tide (2008), Inkjet Print of Composite Photograph, 45 x 1000 cm, M+ Sigg Collection, M+ Museum of Visual Culture, Hong Kong. https://www.canvasjournal.ca/read/the-baggage-of-the-colonized-self-conscious-othering-in-a-global-contemporary-art-world monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581183604391-ORZ0KLUM0RQUU2DVY1KH/FIG+1.jpg Read - The Baggage of the Colonized: Self-Conscious Othering in a Global Contemporary Art World Figure 1. Amal Kenawy, Silence of the Sheep, 2009. Installation view at the 13th Istanbul Biennial, 2013. Performance and video transferred to DVD, PAL, 4:3, 8:51 min. Courtesy The Amal Kenawy Estate and Istanbul Foundation for Culture and Arts. Photo by Servet Dilbe. https://www.canvasjournal.ca/read/a-visual-language-of-eroticism-violence-and-sexuality-in-czannes-male-bathers monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581183070485-KVH3PPVWJLDDEELIAPM7/FIG+1.jpg Read - A Visual Language of Eroticism: Violence and Sexuality in Cézanne’s Male Bathers Figure I. Paul Cézanne, "Les Baigneurs," 1894. Musée D'Orsay, Paris. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581183106018-RSI7GZB559QJ2SNMGEZD/FIG+2.png Read - A Visual Language of Eroticism: Violence and Sexuality in Cézanne’s Male Bathers Figure II. Paul Cézanne, "L'Éternel Féminin (Le Veau d'Or)," 1877. The J. Paul Getty Museum, Los Angeles. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581183141009-HIOQDGPZFW5VU0N2R39J/FIG+3.png Read - A Visual Language of Eroticism: Violence and Sexuality in Cézanne’s Male Bathers Figure III. Paul Cézanne, "Une Moderne Olympia," 1874. Musée d'Orsay, Paris. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581183178664-661NMIZGH3MALQBLTVLY/FIG+4.png Read - A Visual Language of Eroticism: Violence and Sexuality in Cézanne’s Male Bathers Figure IV. Paul Cézanne, "Les Grandes Baigneuses," 1906. Philadelphia Museum of Art, Philadelphia. https://www.canvasjournal.ca/read/the-affective-weight-of-representing-sex-workers-in-the-context-of-modernity-toulouse-lautrec-humor-shock-and-la-rue-moulins monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182506767-JWJJCLIQJ90SW56YIWM2/FIG+1.png Read - The Affective Weight of Representing Sex Workers in the Context of Modernity: Toulouse Lautrec, Humor, Shock, and La Rue Moulins Figure 1 Henri de Toulouse-Lautrec, L'Artisan Moderne, 1896, lithograph poster on tan wove paper, laid down on fabric, The Art Institute of Chicago. Retrieved from: http://www.artic.edu/aic/collections/artwork/13602. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182578525-976HA38KGXN9C0A15G4K/FIG+2.png Read - The Affective Weight of Representing Sex Workers in the Context of Modernity: Toulouse Lautrec, Humor, Shock, and La Rue Moulins Figure 2 Henri de Toulouse-Lautrec, Au Salon de la Rue Moulins, black chalk and oil on canvas, 1894-95, Musée Toulouse Lautrec, Albi, France. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182606262-AS9KDOTAZWYHN17NITIT/FIG+3.png Read - The Affective Weight of Representing Sex Workers in the Context of Modernity: Toulouse Lautrec, Humor, Shock, and La Rue Moulins Figure 3 Henri de Toulouse-Lautrec, The Sofa, oil on cardboard, ca. 1894–96, The Metropolitan Museum of Art, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182638248-JS4V75RGMG9YBIVV0RMI/FIG+4.png Read - The Affective Weight of Representing Sex Workers in the Context of Modernity: Toulouse Lautrec, Humor, Shock, and La Rue Moulins Figure 4 Henri de Toulouse-Lautrec with model holding a lance circa 1895. Image reproduced from Dortu and Huisman, page 121. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182665112-5RGHOAECYU3S208U4UAZ/FIG+5.png Read - The Affective Weight of Representing Sex Workers in the Context of Modernity: Toulouse Lautrec, Humor, Shock, and La Rue Moulins Figure 5 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182738425-DJU7ZGPV00KA3VXGHB5W/FIG+6.png Read - The Affective Weight of Representing Sex Workers in the Context of Modernity: Toulouse Lautrec, Humor, Shock, and La Rue Moulins Figure 6 Henri de Toulouse-Lautrec, Frontispiece from Elles, lithograph, ca. 1896, The Museum of Modern Art, New York. https://www.canvasjournal.ca/read/my-partner-wrotewith-my-own-hand-the-subversive-collaboration-of-claude-cahun-and-marcel-moore monthly 0.5 2020-02-08 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182064215-FL2EF6866FOX1WPEC8ZK/FIG+1.jpg Read - "My Partner Wrote...With My Own Hand:" The Subversive Collaboration of Claude Cahun and Marcel Moore Figure 1. Ernst Ludwig Kirchner. Self-Portrait with Model, 1907/26, oil on canvas, 150.5 x 100 cm (Hamburger Kunsthalle) https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182107123-CMUPYNGMSF5JOLJCBV28/FIG+2.png Read - "My Partner Wrote...With My Own Hand:" The Subversive Collaboration of Claude Cahun and Marcel Moore Figure 2. Claude Cahun. Untitled (“duogram”), ca. 1919. Jersey Heritage Collections. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182140177-A1IROYS4SMTQHEERRVXY/FIG+3.png Read - "My Partner Wrote...With My Own Hand:" The Subversive Collaboration of Claude Cahun and Marcel Moore Figure 3. Marcel Moore. Circa 1915. Jersey Heritage Trust Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182172164-A0BJTRSXCI5YRWOO5U8L/FIG+4.png Read - "My Partner Wrote...With My Own Hand:" The Subversive Collaboration of Claude Cahun and Marcel Moore Figure 4. Claude Cahun and Marcel Moore, photomontage, Aveux non avenus, Plate I, 1930, 15.2 x 10.5 cm. Collection Fonds Albert-Birot, Paris. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182199374-NKF47B6N3C3GWSSC7ODA/FIG+5.png Read - "My Partner Wrote...With My Own Hand:" The Subversive Collaboration of Claude Cahun and Marcel Moore Figure 5. Claude Cahun, Self-Portrait, c. 1928 black-and-white photograph. Musée des Beaux-Arts de Nantes https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581182233595-UWAQ5DSU8PY0UBN3XUFJ/FIG+6.png Read - "My Partner Wrote...With My Own Hand:" The Subversive Collaboration of Claude Cahun and Marcel Moore Figure 6. Claude Cahun (with Marcel Moore) Plate 9. Photomontage, 1929–1930, frontispiece for Chapter 2 “Moi-Même,” in Aveux non avenus. Private Collection, New York https://www.canvasjournal.ca/read/harvesters-and-humanists-a-case-study-of-bruegels-neo-sacred-image-in-the-post-iconoclastic-age monthly 0.5 2020-02-08 https://www.canvasjournal.ca/read/a-gendered-exploration-of-art-trauma-and-memory monthly 0.5 2020-02-07 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581107226710-OYKEOZNPQ5XVILORHOUP/fig+1.jpg Read - A Gendered Exploration of Art, Trauma and Memory: Figure 1. Charlotte Salomon, 4808, Life or Theatre? 1942. Jewish Historical Museum, Amsterdam. https://www.canvasjournal.ca/read/history-and-social-consciousness-in-the-medium-and-material-of-kara-walkers-silhouette-installations monthly 0.5 2020-02-07 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581106346204-9NRTU5E922PH69Z62OKZ/fig+1.jpg Read - History and Social Consciousness in the Medium and Material of Kara Walker’s Silhouette Installations Figure 1. Kara Walker, Gone: An Historical Romance as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart. 1994. Paper. 13 x 50. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581106383831-RC26PAL5J750F3NX1Y2J/fig+2.jpg Read - History and Social Consciousness in the Medium and Material of Kara Walker’s Silhouette Installations Figure 2. Kara Walker, The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven. 1995. Paper. https://www.canvasjournal.ca/read/a-womans-touch-the-dialogue-between-female-sexuality-and-the-concept-of-artist-as-genius-in-egon-schielesnbsp monthly 0.5 2020-02-07 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581106082070-HE35OZC89T4FF7MUUEEE/FIG+1.png Read - A Woman’s Touch: The Dialogue between Female Sexuality and the Concept of Artist as Genius in Egon Schiele’s  Figure 1. Egon Schiele, "Die Traum Beschaute (Observed in a Dream), 1911. ouache, watercolour, pencil, 47 x 32 cm. The Metropolitan Museum of Art, New York. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581106117264-6DN22HTZPW0DEO9KOA2O/FIG+2.png Read - A Woman’s Touch: The Dialogue between Female Sexuality and the Concept of Artist as Genius in Egon Schiele’s  Figure 2. Egon Schiele, "Prediger (Preacher)" 1912. Gouache, watercolour, pencil. 47 x 30.8 cm. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581106156207-9JJH7QW1JQARSQZTC9SZ/FIG+3.png Read - A Woman’s Touch: The Dialogue between Female Sexuality and the Concept of Artist as Genius in Egon Schiele’s  Figure 3. Albrecht Dürer, "Selbstbildnis im Pelzrock (Self Portrait in a Fur Stole)" 1500. Oil on basewood, 67 x 48 cm. https://www.canvasjournal.ca/read/a-matter-of-life-and-death-contemporaneous-criticisms-of-caravaggios-death-of-the-virgin monthly 0.5 2020-02-07 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581105277173-90TPV5EZKOVUH9ZI49SP/FIG+1.jpg Read - A Matter of Life and Death: Contemporaneous Criticisms of Caravaggio's Death of the Virgin Figure 1. Michaelangelo Merisi da Caravaggio, "Death of the Virgin" c. 1601-1606, oil on canvas, 369 cm x 245 cm, Louvre, Paris, France. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581105307424-CITHVDJ69RORP4DQWW6K/FIG+2.jpg Read - A Matter of Life and Death: Contemporaneous Criticisms of Caravaggio's Death of the Virgin Figure 2. Titian, "Assumption of the Virgin," c. 1516-1518, oil on wood, 690 cm x 360 cm, Basilica Santa Maria Gloriosa dei Frari, Venice, Italy. https://www.canvasjournal.ca/read/walking-photographs-lisette-model-as-flneur monthly 0.5 2020-02-07 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581105060081-1Y3NW4LZFH2AB6DM0DDJ/FIG+1.jpg Read - Walking Photographs: Lisette Model as Flâneur Figure 6. Lisette Model, Fifth Avenue, 1938-1945. https://www.canvasjournal.ca/read/the-authentic-landscape-kawase-hasuis-woodblock-prints-and-the-longing-of-modernity monthly 0.5 2020-02-07 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581104210304-LAL35XGLXYPMRY5BILMQ/fig+1.jpg Read - The “Authentic” Landscape: Kawase Hasui’s Woodblock Prints and the Longing of Modernity Figure 1. “The Onsen Range from Amakusa,” Selected Views of Japan (Nihon fūkei senshû, Amakusa yori mitaru Onsengadake), Kawase Hasui, 1922. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581104240458-PCT6LH3P8O6VWRZOA5T4/fig+2.jpg Read - The “Authentic” Landscape: Kawase Hasui’s Woodblock Prints and the Longing of Modernity Figure 2. “Moon at Magome,” Twenty Views of Tokyo (Tōkyo nijūkei, Magome no tsuki), Kawase Hasui, 1930. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581104279398-XDRD3KPFDGALZHJUX3AZ/fig+3.jpg Read - The “Authentic” Landscape: Kawase Hasui’s Woodblock Prints and the Longing of Modernity Figure 3. “Evening Snow at Terajima Village,” Twelve Scenes of Tokyo (Tōkyo jūnidai, Yuki ni fururu Terajima mura), Kawase Hasui, 1920. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581104311883-LW96SM1RFWFQYIXIC9SK/fig+4.jpg Read - The “Authentic” Landscape: Kawase Hasui’s Woodblock Prints and the Longing of Modernity Figure 4. “Kishō, Nishiizu (Nishiizu Kishō), Kawase Hasui, 1937. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581104341970-D6UXFJKXS88RJ0RWJTP5/fig+5.jpg Read - The “Authentic” Landscape: Kawase Hasui’s Woodblock Prints and the Longing of Modernity Figure 5. “Suhara, Kito,” Selection of Scenes of Japan (Nihon fūkei senshū, Kiso no Suhara), Kawase Hasui, 1925. https://www.canvasjournal.ca/read/listening-publics-ultra-reds-protocols-for-the-common monthly 0.5 2020-02-07 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1581103966424-A6U7N9EI9FBUZSIS43PW/fig+1.jpg Read - Listening Publics: Ultra-Red’s Protocols for the Common https://www.canvasjournal.ca/read/the-body-athletic-art-architecture-and-sport-culture-in-early-byzantine-constantinople monthly 0.5 2020-02-06 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580957880067-CNRAQISCFTOAHIL1HZBU/break-05.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580957918955-LVJ8XZXO6X6PYSJFT3F7/fig2.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 1a. Theodosian Obelisk Base (front-southeastern side), c. 390, marble, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580957952441-Z6YDC5O1AAFFF0LNOVCV/fig3.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 1b. Theodosian Obelisk Base (back-northwestern side), c. 390, marble, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580957995615-IHC8P66G77WI1BJLHQF3/fig4.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 1c. Theodosian Obelisk Base (right-southwestern side), c. 390, marble, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958042471-M6NHJ78A6H4BCEKZK7DP/fig5.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 1d. Theodosian Obelisk Base (left-northeastern side), c. 390, marble, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958079502-M18J8SGP4BY73BCSYWCD/fig6.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 2. Diagram of the Hippodrome of Constantinople, showing parts of the circus, relative location of monments on the central median, seating arrangements (in boldface) and activities by location (italics). Drawing by R. A. Fellerman. Safran, Linda. “Points of View: The Theodosian Obelisk Base in Context,” Roman and Byzantine Studies 34.4 (Winter 1993), 417. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958124100-4ZSREFINS6ZDNILQOX1L/fig7.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 3a. Monument Base of Porphyrius the Charioteer (old base – front side), c. 500, white marble, 1.06 x 0.81 x 2.30 m, Archaeological Museum, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958145597-0A5OKA2H2UJO8LYBDL1M/fig8.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 3b. Monument Base of Porphyrius the Charioteer (old base – back side), c. 500, white marble, 1.06 x 0.81 x 2.30 m, Archaeological Museum, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958180350-601YDZUYKZKOEXW63XN5/fig9.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 4a. Monument Base of Porphyrius the Charioteer (new base – front side), c. 500, white marble, 0.78 x 0.64 x 2.26 m, Archaeological Museum, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958261572-CONDATJZ0VSR83MCNCZT/fig10.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 4b. Monument Base of Porphyrius the Charioteer (new base – back side), c. 500, white marble, 0.78 x 0.64 x 2.26 m, Archaeological Museum, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958297084-CNW5Z4A1CSIN6PXAA4B5/fig11.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 4c. Monument Base of Porphyrius the Charioteer (new base – right side), c. 500, white marble, 0.78 x 0.64 x 2.26 m, Archaeological Museum, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958333729-KT1D9ZSFT1X9202PJU8Q/fig12.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 4d. Monument Base of Porphyrius the Charioteer (new base – left side), c. 500, white marble, 0.78 x 0.64 x 2.26 m, Archaeological Museum, Istanbul, Turkey. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958373228-JA5E0M13T507OQU0T2H4/fig13.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Figure 5. Digital reconstruction of the early Byzantine Hippodrome of Constantinople, from Constantinian to Justinianic rule, mid-fourth to mid-sixth century. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958404512-6JL6TFZSF7HNHSV7R2BJ/fig14.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580958438708-PWFP60NQRU15QJFPUH7W/fig15.png Read - The Body Athletic: Art, Architecture and Sport Culture in Early Byzantine Constantinople Remains of the Constantinopolitan Hippodrome (sphendone), Istanbul, Turkey. https://www.canvasjournal.ca/read/black-out-day-selfies-as-online-activism monthly 0.5 2020-02-06 https://www.canvasjournal.ca/read/jeff-koons-et-le-march monthly 0.5 2020-02-05 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580945731067-D67XEHR1EE3H8ZFMVXZU/fig1.jpg Read - Jeff Koons et le Marché Figure 1. New Hoover Deluxe Shampoo Polishers. New Shelton Wet/Dry 10 Gallon Displaced Tripledecker, four shampoo polishers, vacuum cleaner, acrylic, fluorescent lights. 91 x 54 x 28 inches. 231.1 x 137.2 x 71.1 cm. © Jeff Koons. 1981-1987. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580945822087-EC2T619RD42HO8SXS7NS/fig2.jpg Read - Jeff Koons et le Marché Figure 2. Could Go For Something Gordon's. Oil inks on canvas. 45 x 86 1/2 inches. 114.3 x 219.7 cm. © Jeff Koons. Edition of 2 plus AP. 1986 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580945870076-RSXNMR1SD4H7WJAGMRIM/fig3.jpg Read - Jeff Koons et le Marché Figure 3. Balloon Dog. Mirror-polished stainless steel with transparent color coating. 121 x 143 x 45 inches. 307.3 x 363.2 x 114.3 cm. © Jeff Koons.5 unique versions (Blue, Magenta, Yellow, Orange, Red). 1994-2000 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580945910583-SJEKCYE1GTVCVJ7U5982/fig4.jpg Read - Jeff Koons et le Marché Figure 4. Inflatable Flower (Tall Purple). Vinyl, mirrors. 16 x 12 x 18 inches. 40.6 x 30.5 x 45.7 cm. © Jeff Koons. 1979 https://www.canvasjournal.ca/read/linfiniment-petit-and-monstrous-social-anxieties-envisioning-disease-in-fin-de-sicle-culture-through-the-eyes-of-odilon-redon monthly 0.5 2020-02-05 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580945302804-O2U9CBL5177AS9GHBUE8/fig1.jpg Read - L’infiniment Petit and Monstrous Social Anxieties: Envisioning Disease in Fin de Siècle Culture Through the Eyes of Odilon Redon Figure 7. Phantom. Odilon Redon. 1885. Charcoal on paper. Dimensions unidentified. Housing institution unknown. Photo: Larson, “Odilon Redon and the Pasteurian Revolution,” 507. https://www.canvasjournal.ca/read/between-memory-and-progress-negotiating-infrastructure-and-innovation-in-the-nottingham-contemporary-building monthly 0.5 2020-02-05 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1580945046241-H5OSB9LDP12GGCYDQVLV/FIG1.jpg Read - Between Memory and Progress: Negotiating Infrastructure and Innovation in The Nottingham Contemporary Building https://www.canvasjournal.ca/symposium-1 daily 0.75 2026-03-31 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/98453f04-70c6-4246-a2dc-a56386c01d14/Picture1.jpg https://www.canvasjournal.ca/symposium-1/refiguring-wax-allusions-to-votive-offerings-funerary-effigies-and-anatomical-models-in-the-waxworks-of-paul-thek-and-robert-gober monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/07be8229-65f9-4424-9032-d536d562e5b5/Picture1.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 1, Paul Thek, Rundfahrt, from the Technological Reliquaries series, wood, mirror, wax, paint, resin, hair, metal, glass (with silkscreen), 1964, 21.6 x 21.6 x 12 cm., In Paul Thek : Untimely Bodies, 1963-1988, by Oliver L. Schultz, figure 1.12, Stanford, California: Stanford University, 2018. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6737943b-e3d8-467d-a1e4-3e12968b3dc4/Picture2.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d7afa280-151b-4300-8d4e-d273957420ac/Picture3.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 3, Paul Thek, Untitled, from the Technological Reliquaries series, wax, bronze, Formica, Plexiglas, 1965, 42 x 55 x 24 cm., Kolodny Family Collection, https://www.artforum.com/events/paul-thek-11-249167/. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a5d5a69e-8ea4-42f5-a472-0b3f298e7386/Picture4.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/87402e52-d9cc-4eaa-8c35-49c77d539b20/Picture5.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/026cbee7-96c9-4245-be63-81db6919dbec/Picture6.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 6, Paul Thek, Warrior’s Arm, from the Technological Reliquaries series, wax, paint, leather, metal, wood, resin, and Plexiglas, 1966-67, 24.1 x 99.1 x 24.1 cm., Carnegie Museum of Art, https://artmap.com/whitney/exhibition/paul-thek-2010. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4e3824e7-0439-4773-8e5b-78c2a7416a1e/Picture7.jpg Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 7, Paul Thek, Untitled, from the Technological Reliquaries series, wax, metal, paint, butterfly wings, Plexiglas, 1967, 23 x 23 x 87.5 cm., Museum Ludwig, Cologne, https://museenkoeln.de/portal/bild-der-woche.aspx?bdw=2008_21. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/00b37c57-10c3-4b81-a20b-58e41e021dcb/Picture8.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e8824b78-8d15-4ef2-b144-1804f1a10b1e/Picture9.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/458f396b-352e-4b30-bfab-8fe5a2f46093/Picture10.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 10, Installation view: Paul Thek, The Tomb, Stable Gallery, mixed media, 1967, https://www.tate.org.uk/research/tate-papers/24/biopolitical-effigies-paul-thek-and-lynn-hershman-leeson. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/d06782e5-297d-4396-80b1-e2aaa02e7570/Picture11.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4d394456-bf4e-405e-971b-c999b07486e3/Picture12.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/de2a5ae5-9c0e-40fb-8f96-7e434e5c4913/Picture1.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 13, Clemente Susini and Giuseppe Ferrini, Medici Venus, 1782, Museum La Specola, Florence, Italy, https://www.researchgate.net/figure/Anatomical-Venus-wax-Courtesy-of-the-Museum-of-Natural-History-in-Florence-Photo_fig1_274557447. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/0aa2783f-d2d3-4ad8-90a2-f6ea01e1051f/Picture2.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 14, Gaetano Zumbo, Wax model of the head (front view), ca. 1695, Museum La Specola, Florence, Italy, https://www.sciencedirect.com/science/article/pii/S0079612318301493. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/061e84b2-6ae8-40a1-8263-5d603d81560a/Picture3.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 15, Robert Gober, Untitled, wax, cloth, wood, leather and human hair, 1991, 31.3 × 26 × 95.3 cm., Whitney Museum of American Art, https://whitney.org/collection/works/7987. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7f5fbcab-945d-4fdf-89ef-dc2a1f4fb293/Picture1.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 16, Robert Gober, Untitled, wax, wood, leather, fabric and human hair, 1989-1992, 30 x 16 x 51 cm., Tate Modern, https://www.tate.org.uk/art/artworks/gober-untitled-t06658. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/c90b3ee7-b86d-4d2b-823a-8e74715924be/Screenshot+2025-02-27+at+3.15.10%E2%80%AFPM.png Symposium 2025 - Refiguring Wax: Allusions to Votive Offerings, Funerary Effigies, and Anatomical Models in the Waxworks of Paul Thek and Robert Gober - Make it stand out Figure 17, Robert Gober, Untitled, wax, wood, leather, fabric and human hair, 1991-1993, https://artviewer.org/i-am-a-problem-at-mmk-frankfurt-am-main/. https://www.canvasjournal.ca/symposium-1/paying-to-look-vermeers-seducing-image-and-the-dynamics-of-seventeenth-century-sex-work monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e339e668-4dc4-4209-b889-a313367a7339/Picture1.png Symposium 2025 - Paying to Look: Vermeer’s Seducing Image and the Dynamics of Seventeenth-Century Sex Work - Make it stand out Figure 1: Johannes Vermeer, Lady Seated at a Virginal, 1970-72, National Gallery, London, 51.5x45.5cm https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ddc3e840-72d0-4660-aaaf-fe92e7220695/Picture2.jpg Symposium 2025 - Paying to Look: Vermeer’s Seducing Image and the Dynamics of Seventeenth-Century Sex Work - Make it stand out Figure 2: Johannes Vermeer, The Procuress, 1656 Gemäldegalerie Alte Meister, Dresden, 143x130cm https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/36c1fe14-8d6f-4d5c-8ace-02e9c340cffd/Picture3.jpg Symposium 2025 - Paying to Look: Vermeer’s Seducing Image and the Dynamics of Seventeenth-Century Sex Work - Make it stand out Figure 3: Dirck van Baburen, The Procuress, 1622, Museum of Fine Arts, Boston, 101.6x107.6cm https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ff213e6b-97c3-4fa9-84ff-be2539de0e8d/Picture4.jpg Symposium 2025 - Paying to Look: Vermeer’s Seducing Image and the Dynamics of Seventeenth-Century Sex Work - Make it stand out Figure 4: Johannes Vermeer, detail, Lady Seated at a Virginal, 1970-72, National Gallery, London https://www.canvasjournal.ca/symposium-1/embodying-belief-david-adjayes-approach-to-religious-architecture monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/76175195-3886-4a85-b308-607403e30309/Picture1.jpg Symposium 2025 - Embodying Belief: David Adjaye's Approach to Religious Architecture - Make it stand out Figure 1: Adjaye Associates, The Abrahamic Family House Complex, n.d., Image courtesy of ArchDaily, https://www.archdaily.com/1002032/abrahamic-family-house-adjaye-associates. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/6db933d9-cf96-4b1e-88e8-fa6fbe1ccc2d/Picture2.jpg Symposium 2025 - Embodying Belief: David Adjaye's Approach to Religious Architecture - Make it stand out Figure 2: Dror Baldinger, The Moses Ben Maimon Synagogue, n.d., Image courtesy of ArchDaily, https://www.archdaily.com/1002032/abrahamic-family-house-adjaye-associates. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3e2e0f8f-ef75-40c7-9fc9-9a6e855b5322/Picture1.jpg Symposium 2025 - Embodying Belief: David Adjaye's Approach to Religious Architecture - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a2ab1813-af98-49b5-9b67-42770ddbee9d/Picture1.png Symposium 2025 - Embodying Belief: David Adjaye's Approach to Religious Architecture - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/021bd56d-1453-4633-8abb-37d25d44e11e/Picture1.jpg Symposium 2025 - Embodying Belief: David Adjaye's Approach to Religious Architecture - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.canvasjournal.ca/symposium-1/art-nation-self-the-self-portrait-of-a-nation monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/4a5248af-1dd5-40d4-b61f-cd431e0f9ff3/Picture1.jpeg Symposium 2025 - ‘Art,’ ‘Nation’ + ‘Self’: The Self-Portrait of a Nation - Make it stand out Figure. 1, Kitagawa, Utamaro, The Courtesan Hanazuma Reading a Letter, Woodblock print; ink and colour on paper with mica, the 1790s, The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/56793. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2d6b1c06-4249-48cf-ab26-a94de89cafa0/Picture1.jpg Symposium 2025 - ‘Art,’ ‘Nation’ + ‘Self’: The Self-Portrait of a Nation - Make it stand out Figure. 2, Toyohara, Chikanobu, Concert of European Music, Triptych of woodblock prints; ink and colour on paper, 1889, The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/53314. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1eb8cd93-fa58-42fa-a605-90e21c74db53/Picture1.jpg Symposium 2025 - ‘Art,’ ‘Nation’ + ‘Self’: The Self-Portrait of a Nation - Make it stand out Figure. 3, Hashiguchi, Goyô, Woman in Blue Combing Her Hair (Portrait of Kodaira Tomi), colour woodblock print with mica, 1920, Art Institute Chicago, https://www.artic.edu/artworks/60805/woman-combing-her-hair-portrait-of-kodaira-tomi. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a4fd0c93-7e07-4bc0-91f6-15fb92a04a71/Picture1.jpg Symposium 2025 - ‘Art,’ ‘Nation’ + ‘Self’: The Self-Portrait of a Nation - Make it stand out Figure. 4, Katsushika, Hokusai, Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), woodblock print; ink and colour on paper, 1831, The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/45434. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8ddb0450-53fb-4ff6-a90f-95f198d76ef1/Picture1.png Symposium 2025 - ‘Art,’ ‘Nation’ + ‘Self’: The Self-Portrait of a Nation - Make it stand out Figure. 5, Kuroda, Seiki, Chi Kan Jo (Wisdom, Impression, Sentiment), Oil on canvas, 1897-1900, Kuroda Memorial Hall, National Research Institute for Cultural Properties, Tokyo, Japan, https://www.learner.org/series/art-through-time-a-global-view/converging-cultures/chi-kan-jo-wisdom-impression-sentiment/. https://www.canvasjournal.ca/symposium-1/decolonial-touch-photogrammetric-digital-modelling-as-conceptual-framework-and-practical-tool-in-fine-arts-museum-curiosity-cabinets monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/27be2ff7-8c69-4190-9e05-14a82b208362/Picture1.png Symposium 2025 - Decolonial Touch: Photogrammetric Digital Modelling as Conceptual Framework and Practical Tool in Fine Arts Museum Curiosity Cabinets - Make it stand out Figure 1. In progress point cloud model of a tea pot. Accessed December 8, 2024. https://www.mathworks.com/help/vision/ref/pctransform.html. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/ff1ef4e8-259f-4581-bf0d-9fed68c5b6a7/Picture2.png Symposium 2025 - Decolonial Touch: Photogrammetric Digital Modelling as Conceptual Framework and Practical Tool in Fine Arts Museum Curiosity Cabinets - Make it stand out Figure 2. Cursory ‘point cloud of history’ conceptual framework model. Graphic created by Sophie Cooke using an image of a 3D scatter plot by Jinhang Jiang made for “Tutorial Network-Analysis R Visualization” on jinhangjiang.com overlaid on Political Map of the World, January 2015 shown in a Robinson projection, December 10, 2024. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7b16a4c0-8f4b-4b2c-b2fe-6e27f2966b36/Picture3.jpg Symposium 2025 - Decolonial Touch: Photogrammetric Digital Modelling as Conceptual Framework and Practical Tool in Fine Arts Museum Curiosity Cabinets - Make it stand out Figure 3. Montreal Museum of Fine Arts Cabinet of Curiosities. Photograph taken by Olivier Blouin, January 30, 2018. Olivier Blouin Photo. Accessed December 13, 2024. http://www.olivierblouin.com/blog/quartzco-t6syp. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/76dfcfaf-4512-4a64-bb57-e02e2e3d66c5/Picture4.jpg Symposium 2025 - Decolonial Touch: Photogrammetric Digital Modelling as Conceptual Framework and Practical Tool in Fine Arts Museum Curiosity Cabinets - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.canvasjournal.ca/symposium-1/traces-of-the-exiled-absence-and-cultural-memory-in-levitans-vladimirka monthly 0.5 2025-02-28 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8e37bf1d-8821-4c65-9529-923762cb1dd8/Picture1.jpg Symposium 2025 - Traces of the Exiled: Absence and Cultural Memory in Levitan’s Vladimirka - Make it stand out Figure 1. Isaac Ilyich Levitan, Vladimirka (oil on canvas, 79 cm x 123 cm, 1892; Tretyakov Gallery, Moscow). https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/fa88006a-1ca2-4ff0-9f1d-2df9068b42ae/Picture1.png Symposium 2025 - Traces of the Exiled: Absence and Cultural Memory in Levitan’s Vladimirka - Make it stand out Figure 2. Caspar David Friedrich, Monk by the Sea (oil on canvas, 110 x 171.5 cm, 1808-1810; Nationalgalerie, Staatliche Museen, Berlin) https://www.canvasjournal.ca/symposium-1/redefining-gender-in-surrealism-feminist-and-queer-interventions-in-leonora-carringtons-works monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/3ce97970-0bb2-403c-b49f-425e700de591/Picture1.png Symposium 2025 - Redefining Gender in Surrealism: Feminist and Queer Interventions in Leonora Carrington’s Works - Make it stand out Figure 1. Leonora Carrington, The Garden of Paracelsus, c. 1957 (oil on canvas. 85.1 x 120 cm). Image retrieved from https://www.sothebys.com/en/buy/auction/2022/modern-evening-auction/the-garden-of-paracelsus https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/b3e9e4af-01d2-4906-9110-1d1dae4e89a4/Picture1.png Symposium 2025 - Redefining Gender in Surrealism: Feminist and Queer Interventions in Leonora Carrington’s Works - Make it stand out Figure 2. Leonora Carrington, The Return of Boadicea, c. 1969 (oil on canvas. 79 x 79 cm). Image retrieved from https://en.artsdot.com/@@/AQRAYP-Leonora-Carrington-The-Return-of-Boadicea https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/f4654fad-7d9b-4e3a-adff-d8dfea619343/Picture1.png Symposium 2025 - Redefining Gender in Surrealism: Feminist and Queer Interventions in Leonora Carrington’s Works - Make it stand out Figure 3. Leonora Carrington, The Giantess (the Guardian of the Egg), c. 1947 (tempera on wood panel. 120 x 69.2 cm). Image retrieved from https://arthive.com/leonoracarrington/works/381359~The_giantess_the_Guardian_of_the_egg https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8bb6d72e-f456-4bd6-8bc4-8c088d4d67e8/Picture1.png Symposium 2025 - Redefining Gender in Surrealism: Feminist and Queer Interventions in Leonora Carrington’s Works - Make it stand out Figure 4. Leonora Carrington, Down Below, c. 1940 (oil on canvas. 40 x 59.7 cm). Image retrieved from https://www.artnet.com/artists/leonora-carrington/down-below-a-3ez0N0GjJIC8mSdYbWjB5Q2 https://www.canvasjournal.ca/symposium-1/spectres-soucouyants-and-song-the-many-hauntings-of-lopinot monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/36908f1d-a91a-4a7c-9608-425c8b43ddae/Screenshot+2025-02-26+at+9.07.38%E2%80%AFPM.png Symposium 2025 - Spectres, Soucouyants, and Song: The Many Hauntings of Lopinot - Make it stand out Figure 1. Daphnee Bechard, "Photograph of Lopinot House overlayed with its 3D animated dreamscape version", November 2024. https://www.canvasjournal.ca/symposium-1/effacement-in-portrait-photography-thomas-moore-keesick-and-the-indian-industrial-and-residential-schools monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/50a55366-81ee-4a2e-9661-a8830c03cbcc/Picture1.png Symposium 2025 - Effacement in Portrait Photography: Thomas Moore Keesick and the Indian Industrial and Residential Schools - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/73697270-2b67-41b3-b314-2796186fe5b9/Picture1.jpg Symposium 2025 - Effacement in Portrait Photography: Thomas Moore Keesick and the Indian Industrial and Residential Schools - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.canvasjournal.ca/symposium-1/event-photographs monthly 0.5 2025-02-27 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1740626093223-ZYGYDS3WG5R9PSMSZMQU/9912+-+20250222-min.JPG Symposium 2025 - 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Event Photographs https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1740625987227-YA8KMJY0ES05ZTTLFVG2/9984+-+20250222+%281%29-min.JPG Symposium 2025 - Event Photographs https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1740626093796-IT6FE601YMSGK9XHRLNQ/9911+-+20250222-min.JPG Symposium 2025 - Event Photographs https://www.canvasjournal.ca/symposium-1/category/Symposium+2025 monthly 0.5 https://www.canvasjournal.ca/symposium-1/tag/Symposium+2025 monthly 0.5 https://www.canvasjournal.ca/2026-symposium-archive daily 0.75 2026-03-31 https://www.canvasjournal.ca/2026-symposium-archive/as-the-badshh-saw-with-barabichitrs-albumic-reordering-of-the-renaissance monthly 0.5 2026-03-31 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/19f4c492-8598-4985-89fc-1e2234bc7eab/FS-8106_16.jpg 2026 Symposium Archive - As the Badshāh Saw with Basīra:Bichitr’s Albumic Reordering of the Renaissance - Make it stand out Fig. 1. Bichitr, Jahāngīr Preferring a Sufi Shaikh to Kings, ca. 1615–1618. Opaque watercolor, gold, and ink on paper; 18 × 13 in. Smithsonian National Museum of Natural History, Washington, DC. https://asia.si.edu/explore-art-culture/collections/search/edanmdm:fsg_F1942.15a/. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/2ea5f9fc-7ed2-4def-ae81-625f6fded791/main-image.jpeg 2026 Symposium Archive - As the Badshāh Saw with Basīra:Bichitr’s Albumic Reordering of the Renaissance - Make it stand out Fig. 2. Dürer, Albrecht. Saint Jerome in His Study. 1514. Engraving; 9.6 × 7.5 in. The Metropolitan Museum of Art, New York. https://www.metmuseum.org/art/collection/search/336229. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a5b195af-0b56-47af-96fa-1ac7439a6f16/Screenshot+2026-03-30+at+10.41.26%E2%80%AFPM.png 2026 Symposium Archive - As the Badshāh Saw with Basīra:Bichitr’s Albumic Reordering of the Renaissance - Make it stand out Fig. 3. de Critz, John. Portrait of King James I of England and VI of Scotland. 17th century. Oil on panel; 45 × 32.5 in Private collection, Christie’s, London. https://www.christies.com/lot/lot-5521212/?intObjectID=5521212. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/21bca927-0616-4cc5-add6-48fefe579ab3/Screenshot+2026-03-30+at+10.41.56%E2%80%AFPM.png 2026 Symposium Archive - As the Badshāh Saw with Basīra:Bichitr’s Albumic Reordering of the Renaissance - Make it stand out Fig. 4. Bichitr, A Rare Mughal Portrait of James I. ca. 1615-18. Opaque watercolor, gold, and ink on paper; 7.87 × 4.5 in Private collection, Christie’s, London. https://www.christies.com/en/lot/lot-5930930 https://www.canvasjournal.ca/2026-symposium-archive/Blog Post Title One-3zaa9-zlxng-67tfc-97ean monthly 0.5 2026-03-31 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/41774c8c-ed12-4838-b021-668190bda5af/sophie+1.jpg 2026 Symposium Archive - The Marvellous as Lived: Rethinking the Real in Twentieth-Century Mexican Art - Make it stand out Fig. 1. Frida Kahlo, Henry Ford Hospital, 1932. Oil on metal, 30.5 × 38 cm. Museo Dolores Olmedo, Xochimilco, Mexico City. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1b05aee0-b9d9-42d0-8567-d832e33e499f/sophie+2.png 2026 Symposium Archive - The Marvellous as Lived: Rethinking the Real in Twentieth-Century Mexican Art - Make it stand out Fig. 2. Unknown artist, Ex-Voto: Nuestra Señora del Perpetuo Socorro (Our Lady of Perpetual Help), 1939. Oil on tin, 17.78 × 17.78 cm. Mexican Retablo Collection, New Mexico State University, inv. 1966.05.125. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/cdb7d9e8-73c6-42d5-863b-68fbc3911d4e/sophie+3.jpg 2026 Symposium Archive - The Marvellous as Lived: Rethinking the Real in Twentieth-Century Mexican Art - Make it stand out Fig. 3. Frida Kahlo, The Suicide of Dorothy Hale, 1939. Oil on Masonite, 60.4 × 48.6 cm. Phoenix Art Museum, Phoenix, Arizona. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/fe30bc13-ce26-4c59-b824-91cd3a367895/sophie+4.jpg 2026 Symposium Archive - The Marvellous as Lived: Rethinking the Real in Twentieth-Century Mexican Art - Make it stand out Fig. 4. Frida Kahlo, Tree of Hope, Remain Strong, 1946. Oil on Masonite, 55.9 × 40.6 cm. Daniel Filipacchi Collection, Paris, France. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/bafb3d08-1a96-4d73-baab-595c8fe06e0c/sophie+5.jpg 2026 Symposium Archive - The Marvellous as Lived: Rethinking the Real in Twentieth-Century Mexican Art - Make it stand out Fig. 5. María Izquierdo, Dream and Premonition, 1947. Oil on canvas. Ma. Esthela E. de Santos Collection, Monterrey, Mexico. https://www.canvasjournal.ca/2026-symposium-archive/blog-post-title-two-t5my5-k4xmd-67jzh-39gjb monthly 0.5 2026-03-31 https://www.canvasjournal.ca/2026-symposium-archive/blog-post-title-three-y3peb-4lwnz-5pkhf-khnw4 monthly 0.5 2026-03-31 https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/7c85e874-0b65-497a-8efb-3b0a934f591b/madeline+1.jpg 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 1. Agnes Pelton, Mother of Silence, Oil on canvas, 1933. Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/e0bfbda1-a60c-4392-a2d3-8cd6ed0151e2/madeline+2.jpg 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 2. Agnes Pelton, Star Gazer, Oil on canvas, 1929. Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/febb84ec-f625-4562-b0cd-2309446b82ec/madeline+3.jpg 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 3. Agnes Pelton, Voyaging. Oil on canvas, 1931, Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/8a68c90b-bf47-4f77-83b7-e914761db641/madeline+4.png 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 4. Agnes Pelton, Drawing from 23 October 1930, Notebook/Sketchbook VI. Agnes Pelton Papers, Smithsonian Archives of American Art. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/1d7ec268-1704-4ffb-8119-d65c0445aafa/madeline+5.jpg 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 5. Agnes Pelton, Desert Willow, Oil on canvas, 1950. Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/a337622e-881c-47e0-9b03-e678231bdcb7/madeline+6.jpg 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 6. Agnes Pelton, Awakening, Oil on canvas, 1943, Private Collection. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/15d1bf94-bebb-4250-a1b8-55a6bf7e46e2/madeline+7.jpg 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 7. Agnes Pelton, Future, Oil on canvas, 1941. Palm Springs Desert Museum, Palm Springs. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/5f697502-5430-4512-bf14-f9ac69f0488c/madeline+8.png 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 8. Agnes Pelton, Return, Oil on canvas, 1940, Phoenix Art Museum. https://images.squarespace-cdn.com/content/v1/5e37a526bbe3b87b370bb999/99dbaa93-932f-4168-9db4-5f7a1d5beaaf/madeline+9.png 2026 Symposium Archive - Agnes Pelton: Antimodern Abstractions - Make it stand out Fig. 9. Unknown, Stone entrance towers to Cathedral City, circa 1940s. 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