Hidden away at Winterthur is an archeological fragment collection donated by Mrs. Cazenove G. Lee in 1968 and 1969. The collection includes approximately 139 objects, primarily excavated, a term used loosely in this context), in early twentieth-century Virginia at Lee family homes. They are cataloged under collection numbers 1968.0312-0336 and 1969.0048-56, but this paper focuses on three objects: a stone, a pair of shingles, and a brick. As pieces collected following the destruction of the Civil War in a collection that largely ignores the southern United States, these fragments serve Winterthur as a means of preserving the destruction of the South, in contrast with the decorative arts that make up most of the museum’s collection. Additionally, many of these bricks, stones, ceramics, and glass pieces were likely crafted by enslaved Black workers, an ever-hidden legacy in the museum's collection. Eure starts by addressing the collection itself and the mythos around the Lee family and the fragment’s history. Then, she addresses the popularization of taking objects from the South in the economically unstable post-Civil War years. These fragments differ from the “pillaging the south” narrative for two reasons: First, the fragments were donated by a member of the Lee family, and second, the archaeological fragments are much more mundane than the rest of the objects held by Winterthur and are not on view. The fragments were accepted as part of the collection specifically to be a part of the study collection, according to the acquisition files. As fragments of what we might traditionally see at Winterthur, collected from elite properties, this collection of objects is a unique look into the role of archaeological fragments in material culture studies and the politics of legacy building.

In this piece from the 2022 Tools of the Trade symposium, the author analyzes how artists James Luna and Wendy Red Star utilize their bodies to subvert stereotypes through their representation of systemic issues, museums, and Indigenous presence. Using a decolonial and feminist lens, the piece deconstructs how the works of Luna and Red Star allow the artists to play with Indigenous stereotypes in different ways to create their own versions of themselves, through the portrayal and use of the body alongside their culture.

Abstract: In the final part of this serialization, Krehbiel explores how the romance literature of the medieval period interprets and romanticizes reality through the lens of Arthuriana as a nostalgic, fantastical setting. This addresses the broad themes of romance literature, its origins, and authorship. Romances were written by the troubadours, who either were knights or worked for knights, and they wanted to aggrandize knighthood to their audience, who were also knights. Additionally, the themes of courtly love and chivalry, which define the genre as a whole are important to this discussion. In this piece, the actions and stories of Arthur’s knights, as shown in medieval literature, will be compared to those of real knights. Primarily, this uses works of romance from England and Northern France during the late 12th to mid-13th centuries. These sources will be used in direct comparison of monographs which focus on knights, as well as primary source documents relating to warfare and chivalry. These stories all presented supposedly ideal knights which strictly adhered to codes of chivalry and courtly love that, as we will see, were not followed by actual knights.

In Part one of this three-piece serialization, this piece will compare and contrast fictional knights to their real-life counterparts living around the same time and place as when the legends were written. Primarily, this is in England and France from the mid-twelfth to the early fourteenth centuries. This analysis discusses the ways the literature from this period created an ideal knight that, while inspired by the knights living during this time, was very different.

Furthermore, this paper explores the influence this literature had on knights and their culture. In order to address the differences between fictional and real knights, part one discusses the historical reality of the archetypal knight. In this case, who were knights historically, what did they do, and what was their role in medieval society. While this is a broad topic and covers many centuries and an entire continent, for the sake of simplicity this paper focuses on western Europe, namely England and France from the eleventh to the fourteenth centuries. While some documents found in this research may fall outside of that purview, that is because the question of the development of knighthood is pertinent to this discussion. Furthermore, it should be noted that because knighthood was so quintessentially European, it existed and spread across the continent.

In Part one of this three-piece serialization, this piece will compare and contrast fictional knights to their real-life counterparts living around the same time and place as when the legends were written. Primarily, this is in England and France from the mid-twelfth to the early fourteenth centuries. This analysis discusses the ways the literature from this period created an ideal knight that, while inspired by the knights living during this time, was very different.

Furthermore, this paper explores the influence this literature had on knights and their culture. In order to address the differences between fictional and real knights, part one discusses the historical reality of the archetypal knight. In this case, who were knights historically, what did they do, and what was their role in medieval society. While this is a broad topic and covers many centuries and an entire continent, for the sake of simplicity this paper focuses on western Europe, namely England and France from the eleventh to the fourteenth centuries. While some documents found in this research may fall outside of that purview, that is because the question of the development of knighthood is pertinent to this discussion. Furthermore, it should be noted that because knighthood was so quintessentially European, it existed and spread across the continent.

The survey photographs of Timothy O’Sullivan have long been associated with the canon of American photography and the material culture of the later nineteenth-century that precipitated artistic modernism. O’Sullivan’s photographs are renowned for their rendering of the harsh desert landscapes of the American Southwest and the particular attention they pay to the geological features of the terrain. In the critical literature, debate about whether the photographs are to be seen as objects of artistic expression or scientific documentation has preoccupied the scholarship. Such a framing, however, distorts O’Sullivan’s more complicated engagement with the materiality of the landscape conceived in evolutionary terms as a dynamic process that changes over time to which the photographic apparatus comes into material relation as a capture of light in duration. This article argues that O’Sullivan’s interest in the materiality of the earth and in photography as a material process originates in an earlier nineteenth-century dialogue between geological science and American landscape painting. The article demonstrates how the visual culture of the American West is part of this relationship and how O’Sullivan’s photography belongs to this wider interest in the material formation of the earth in nineteenth-century American culture. With this historical perspective in mind, the paper argues that O’Sullivan’s photographs exhibit a proto-ecological awareness of the landscape as raw material and subject matter, as well as comment on the relation between photography and nature. More broadly, the article suggests that the problem of materiality, usually associated with twentieth-century art theory, has its origins in the scientific culture of the nineteenth-century, when the distinctions between scientific, utilitarian, and artistic objects were blurred

This piece takes a new look at the second Ku Klux Klan by utilizing the lenses of material and visual culture. Previous scholars have addressed the Klan as a business, such as Charles Alexander, Nancy Maclean, and Kathleen Blee. However, their research did not focus primarily on the manufactured materials, literature, and regalia produced by the Klan. Using 20th -century material culture as a lens for analysis is critical in understanding how collective groups of people relate to one another through objects and shared ideologies. This piece argues that focusing on the visual and material culture produced by the Klan opens new insights into the second iteration of the KKK. Primarily, the piece examines manufactured cultural items such as catalogs, brochures, newspapers, photos, and propaganda produced by and for the Klan. The central aims are twofold: to explain the cultural importance of the visual and material cultural objects and to show how the Klan was able to use merchandising to fund its “Invisible Empire.”

Evelyn De Morgan (1855–1919) was an English painter and, behind closed doors, a practiced spirit medium. Her paintings have historically been characterized by a unique amalgamation of her association with the Pre-Raphaelites, her time in Great Britain and Italy, and her involvement in Victorian-era Spiritualism, a movement that became fairly mainstream in her lifetime. De Morgan was especially fascinated by the ascent of the soul beyond the physical world and increasingly explored this subject in her later works.

From about 1900 until her death in 1919, De Morgan’s paintings demonstrate the height of her desire to reconcile the material and the mystical realms. To visually express her personal theology as it evolved, De Morgan gravitated towards the concept of light both spiritually and scientifically. De Morgan likely gleaned concepts and imagery from 19th-century science publications on light, including well-known writings on prismatic refraction and chromo-mentalism, to formulate and legitimize the unique Spiritualist iconography present in her later works. This article discusses how she might have viewed and utilized scientific principles in tandem with contemporary spiritualist discourse, including an anonymously published compilation of her own automatic writing transcripts, aptly titled The Result of an Experiment.

Much like a glass prism can be used to expand the scope of the visible world, the act of studying and painting light was how Evelyn De Morgan attempted to materialize the mystical and bridge the gap between science and Spiritualism.

While art provides a physical and transportable object within which heritage and, by extension, national identity is stored and displayed, it nonetheless also exudes and absorbs these same intangible concepts. The Wedding Feast at Cana, one of the largest and most prominent paintings removed from Venice during the 1797 French invasion, is one of those works under discussion when defining where and to whom material culture belongs. This article explores the history and the ethics behind the story of the Wedding Feast at Cana and examines the viewpoints from which ownership and intangible connection for material culture is often viewed.

The Museum of the Bible (opened 2017) has been a popular topic in the news for its many collecting missteps. Most of these errs are associated with the Green Family Collection, donated by the Green family headed by Steve Green, whose father founded Hobby Lobby. The evangelical businessman collected for more than a decade with the intention of opening a museum. With that vision turned reality, the family’s frenzy to collect biblical material to fit their specific narrative about the Bible has come under scrutiny. The Greens have purchased stolen and looted artifacts, bought forgeries, and even lied on U.S. Customs forms to import such materials. Although these actions are morally corrupt, and contrary to the Greens’ evangelical background, the family serves as more than a story of malpractice and unethical behavior. By using their private wealth to exploit the antiquities markets in areas of political unrest, the Greens exemplify contemporary cultural colonialism. In part two, I apply the theories explicated in part one to review two case studies about the Greens and the Museum of the Bible. These studies demonstrate their cultural colonial practices and the colonial matrices of power in the family’s collection dealings. The first case study regards the Greens’ illegally importation of artifacts from Iraq in 2011. The second case study concerns their collection of papyri obtained from an Oxford University professor. I end by contemplating how several countries in the Middle East, the main source and site of the Green family’s collection, are attempting to regain their agencies within these matrices of power dominated by the Greens.

The Museum of the Bible (opened 2017) has been a popular topic in the news for its many collecting missteps. Most of these errs are associated with the Green Family Collection, donated by the Green family headed by Steve Green, whose father founded Hobby Lobby. The evangelical businessman collected for more than a decade with the intention of opening a ultheir specific narrative about the Bible has come under scrutiny. The Greens have purchased stolen and looted artifacts, bought forgeries, and even lied on U.S. Customs forms to import such materials. Although these actions are morally corrupt, and contrary to the Greens’ evangelical background, the family serves as more than a story of malpractice and unethical behavior. By using their private wealth to exploit the antiquities markets in areas of political unrest, the Greens exemplify contemporary cultural colonialism. In part one, I explore the background of the Green family and Hobby Lobby and their connections to the Museum of the Bible. Then, I define and examine the terms “cultural colonialism” and “colonial matrices of power,” and their relevance to contemporary contexts.

Ptolemaic Egypt has been studied by classical and archaeological perspectives but has limited its scope to Greco-Roman authors and material analysis which neglects the people. This article applies a Marxist approach created by the author to the archaeological material within the port city of Thonis-Heracleion. This review of the literary landscape of Ptolemaic Egypt suggests a Marxist approach to the archaeological material can show the underrepresented people within the maritime industry and display social groups, inequality, class relations, and modes of production. The material evidence of ships, anchors, weights, nails, faunal remains, and tools that yield evidence of the social dynamics of Thonis-Heracleion. Due to the pandemic, all of the materials are extracted from literary or online resources regarding each site. This approach was found to be stringent but worked, to an extent, within the evidence gathered. Despite, understanding the history, aspects, and application of the manufactured Marxist approach, the archaeological material can expand interpretive opportunities for future study in Ptolemaic Egypt.

The museum frames our ideas about the livelihoods and person hoods of other people, as they are where the public encounters an other—a person different from who they identify as—often they have never met in their daily lives. Taking anthropologist James Clifford’s essay “On Collecting Art and Culture” as its departure, this paper argues that the traditional Western museum’s exhibition form cannot do justice to the histories and lives of non-Western objects, specifically masks from Northwest Coast Indigenous cultures, because the museum’s historical foundation was established by Enlightenment meta-narratives that counter the belief systems of many non-Western people, which reinforce stereotypes about the cultures the objects represent. The author presents three examples of exhibition forms that counter the Western model lifted from Clifford’s conclusion in 1988, demonstrating three distinct alternatives to forms that embrace Enlightenment principles, further oppressing the families and cultures to whom these items belong. The Nuyumbalees Cultural Center in Cape Mudge presents their sacred collection as alive and purposeful through programming and use of the big-house style building to provide a cultural and familial history of the objects and tradition of the potlatch. The Museum at Campbell River’s Treasures of Siwidi gallery activates a family’s contemporary collection of potlatch masks as keepers of history through an aural performance of the legendary narrative. The U’Mitsa Cultural Center’s virtual tour uses contemporary videos, 3D modeling, and language learning tools to animate the historical collection of masks from a variety of carvers and owners in a contemporary framework speaking to the interests of locals and global researchers. In order to create more inclusive, respectful, generative, and accurate display practices that honor the history of these items, museums must take steps to deconstruct the Enlightenment value systems upon which the Western Museum model was founded within their display practices.