This exhibition explores some of the items, works, topics, and questions addressed in the first-year constellation "What is the Cosmos?" Curated by "Conquering the Cosmos: The Art and Visual Culture of the Space Race (ARTHIST 106CNS), Mapping the Cosmos from the Neolithic to Now (ARTHIST 105CNS), The Song of the Stars (RELIGION 103CNS), and Gods, Monsters, and Superheroes: The Beings of the Cosmos (RELIGION 104CN).
ACKNOWLEDGMENTS: With thanks to the Nasher Museum, the Rubenstein Rare book & Manuscript Library, and the Perkins and Bostock Libraries for their invaluable assistance with this project, especially Margaret (Meg) Brown and Yoon Kim.
RELIGION 103CNS
Stirrup-Spout Vessel in the Form of a Sprouting Potato. Moche culture, 100–500 CE. Ceramic.
Nasher Museum of Art, Duke University, Durham, NC.
The Paul A. and Virginia Clifford Collection. Object no. 1973.1.503.
Kalina Atanasova, Siena Volio, Grey Dugdale
This Moche stirrup spout vessel takes the form of a sprouting potato, a vital crop in the Peruvian civilization that symbolizes both elite power and regeneration. The vessel likely functioned as a storage container for chicha, a corn-based beer believed to have originated from the divine. The narrow spout would have limited air exposure, thereby reducing evaporation and preserving the sacred liquid. The Moche tradition of spout vessels commonly takes the form of a mythical hero who embodies the dual roles of priest and chief warrior, yet this particular artifact subverts this convention, alternatively portraying an anthropomorphized crop. Within Moche culture, potatoes signified elite status as they provided greater sustenance than the more common staple of corn. Thus, when considered alongside the traditional iconography of these vessels, the image of the sprouting potato elevates to a level comparable with that of deities.
This elevation is reinforced by the vessel’s physicality. The potato is captured mid-germination, swelling with new growth, visually echoing themes of fertility and regeneration central to Moche cosmology. Life, in their worldview, was understood as cyclical: death gave way to renewal. This vessel is the physical rendering of this cycle in ceramic, transforming an agricultural custom into a devotional object. This ecology of art and agriculture in the Moche tradition of ceramic vessels work to convey their cultural and spiritual ideologies. The sprouting vessel does not just represent abundance; it embodies the process through which the divine cosmos made itself present in Moche life.
Ver (Spring). Creator unknown. C. 1675-1699.
History of Medicine Collections. David M. Rubenstein Rare book and Manuscript Library. Duke University.
Ollie Boesch, Lili Lassoued, Leticia Rodriguez
Ver (Spring) is part of a larger collection called The Four Seasons, which aims to depict a more nuanced meaning of the seasons through visualizations of the human body. It also has the same interactive flaps that make Ver unique, suggesting this collection might have been a highly engaging teaching tool for subjects such as medicine, anatomy, astrology, and cosmology.
One of the most interesting components of Ver was that it emerged roughly around the same time as the Renaissance, when there was a revived interest in human anatomy. One of the key reasons there might have been the flaps was that Renaissance philosophy emphasized understanding anatomy through dissection, and the interactive flaps mirrored that process. The influence of Renaissance thinking was also reflected in the depiction of the boy’s development from the womb to adolescence, as human development was heavily researched in Renaissance-driven anatomical studies. This idea of growth is further emphasized by the presence of phelgma, a liquid supporting renewal. That is why it acts as a great representation of spring, the season of regrowth. While this cycle of growth in spring seems confined to the object, it actually spans the universe. This is because Renaissance followers believed the human body was a “microcosm of the universe,” and so the different humans and the goddess Minerva (women in the center) embody spring’s growth. [4, 10, 11, 12, 27, 42]
Virgin and Child on the Crescent Moon. c. 1500.
Nasher Museum of Art at Duke University, Durham. Nasher Museum of Art at Duke University.
Milla Campomar, JJ Wilcox, Mahriz Zain
This sculpture from a rosary altarpiece depicts the Virgin Mary holding the Christ Child above a crescent moon. This was common imagery in 15th-century Catholic Europe during the rise of the Cult of the Rosary, which made faith accessible to ordinary people. There are several significant symbols within this sculpture. The crescent moon is described in Revelation 12:1, where a woman stands with “the moon under her feet,” representing the Virgin Mary’s perpetual virginity and her as the Immaculate Conception. The Virgin Mary and the Baby Jesus both gaze directly at the viewer, prompting their repentance for their sins. The apple in Christ’s hand references the first sin from the story of Genesis, foreshadowing Christ’s future role in the redemption of humanity, as well as the Virgin Mary’s role in ameliorating the perception of women in society. Lastly, the Virgin Mary’s draped cloak forms an abstract halo, signifying her divinity. The sculpture draws most heavily from Revelation 12. The woman depicted might represent not only the Virgin Mary, but also symbolize Israel, the Church, Eve, and Mary together. [26, 76, 77, 87, 107, 111, 113]
Polygnotos, attributed Greek (Athenian), active 450-425 BCE. Red-figure calyx krater. 460-425 BCE. Photograph reproduction. Nasher Museum of Art, Duke University.
Allison Hu, Isabella Brown, Anthony Drago
The Red-Figure Calyx Krater is an Athenian ceramic piece created by famous Greek painter and ceramic artist, Polygnotos (active 450 – 425 BCE), in 460-425 BCE. A large portion of Polygnotan vases displayed scenes from myth and epic about the Olympian gods. The figures depicted on the calyx krater at the Nasher illustrate the Greek myth of Demeter and Persephone and the origin of the seasons. With Persephone’s abduction, winter fell across Earth from Demeter’s grief. With Hecate and Triptolemus’s help, Demeter searched for months for Persephone. Only when Persephone returned did spring arrive. The stories featured on the calyx kraters were often told by Greek households during large aristocratic symposiums. Rooms made for these symposia would typically consist of around numerous couches, and at the center sat the calyx kraters. These vase centerpieces would hold the wine mixture of three parts wine and one part water that was served throughout the night. With the calyx krater full of wine in the middle, the stories of the Greek gods and goddesses would be discussed. The calyx krater, and in turn, Symposia, played a large role in shaping the ancient Athenian culture and understanding of the world. [6, 20, 28, 51, 82, 95, 100, 102]
Chinca or Ica Artists (Peru) Ceremonial Digging Stick, 1200–1500 CE Polychrome on wood
1980.42.1
Ruby Griggs, Harry Liu, Brian Zhu
The six figures sitting atop this piece wear vestment that suggests high status. Other iconography on the stick is difficult to interpret. The mammalian figures may depict llamas, a representation of fertility, religious devotion, and wealth. The stick’s purpose is also subject to lively debate. Early interpretations proposed that it functioned as a maritime instrument since its form matches the shape of what one would expect from the rudder of an Incan boat, but the absence of water damage hints that this may not have been its purpose. Another theory posits its practical use as an agricultural tool, but its bulky demeanor and intricate design suggest otherwise. Now, the prevailing interpretation is that it served an exclusively ceremonial role.
To pursue agricultural prosperity, ceremonies were held to appease the gods. During these rituals, the digging stick may have been used to break apart the soil for sacrifice offerings.
The study of the Sun’s movements by Inca astronomers was motivated by the agricultural economy. Revered as the “Giver of Life,” the Sun brought abundant harvests, inspiring its worship and cult. Observation of the Sun, Moon, and Stars for this purpose led to the creation of twelve month solar and lunar calendars. [3, 14, 17, 19, 43, 57, 59, 65]
General Electric Company. The Family of Mann: Prospects for Progress, 1970. OCLC Number: 15178744. Former Call Number: 47842 & Soviet Space Research. 1969. Moscow (APN). OCLC Number: 227141.LCCN: 76870920 // r89
Isabel Needleman, David Oh, Cam Taylor
These objects invite viewers to consider how the “space age” extended far beyond rockets and astronauts. Produced in two different institutional contexts — a Soviet state press and an American corporation — these books translate the vastness of the cosmos into accessible, persuasive narratives. Soviet Space Research presents exploration as evidence of intellectual rigor and political strength, using scientific language and imagery to reinforce national achievement on a global stage. In contrast, The Family of Mann offers a more intimate vision of the future, imagining how technological innovation might reshape domestic life, work, and human relationships.
Displayed side by side, these works highlight how space functioned as both a site of competition and a canvas for imagination. They also reflect a broader shift in how humans understand the universe: from mythological and philosophical frameworks to systems grounded in science, industry, and progress. This exhibition encourages viewers to see these artifacts not just as historical documents, but as competing visions of the future — each revealing how societies project their values, ambitions, and anxieties onto the cosmos. [29, 32, 47, 52, 98, 103]
RELIGION 104CN
The Supernatural and Storytelling
Luke Christmas, Ryan Lutnick, Quinn Whitaker
Our plaque is a collage of the three different aspects we analyze. We started with the fantastic, and its connection to the Marvel Universe. Some MCU heroes reveal that extraordinary power can come from the fantastic rather than from cosmic or god-like powers. This is seen in heroes like Captain America and Blank Panther whose abilities were enhanced not created. This mirrors real world abilities of humans to harness different powers of the body through different avenues. Across cultures and traditions accounts of human doing spectacular things by harnessing power we all possess point to the fact that human potential is untapped and constrained by the mind.
We then looked at the Celestials in comparison to the demiurge, specifically as seen in Plato’s Timaeus. These figures share similar roles, since they are organizers of the universe. However, Celestials guide evolution where the demiurge organizes the chaotic matter. Both figures are crucial for the beginning of the universe, and governing it to be good. Lastly, we looked at the Black Panther, and its connection to Indigenous Storytelling through the fantastic. In Wakanda, power flows not just from cosmic authority but also from storytelling, ritual, and spiritual connection to the land and ancestors. This tradition is what grants access to the divine, as seen in the Ancestral Plane, and what holds the community together across generations. [31, 46, 47, 48, 57]
Cosmic Knowledge
Emmy Bray, Penelope Gaspar, Charlie Ratterree
Since taking Professor Scolnic’s Astronomy and Dr. Domeracki’s Religious Studies courses, we have examined how knowledge is accessed through the cosmos.
Penelope’s research into the Orion constellation, featuring eight primary stars, illustrates this intersection. In Greek and Sumerian myth, Orion, a half-divine being, gained immortality through celestial placement; in Christianity, he symbolizes divine omnipotence and purposeful creation. From an astrophysics perspective, Orion reveals the cosmic life cycle: the Orion Nebula (M42) acts as a "stellar nursery," while the Red Supergiant Betelgeuse nears its end. This scientific story mirrors the mythological one, tracing the journey of beings from birth to death or immortality.
Charlie’s final astronomy project calculated longitude using the Skynet Robotic Telescope Network and Galileo’s observations of Ganymede. Plato wrote in the Timaeus that God set planets in orbit "to enable living creatures to gain a knowledge of number." Galileo agreed, writing that "Scripture and nature equally derive from the divine Word." Both Galileo and Plato refer to the cosmos as a teacher. By observing Ganymede 4.2 hours apart from Greenwich Mean Time, he determined a longitude of 63°W. Like Plato and Galileo, he learned about Earth by studying Cosmic Clocks.
Finally, Emmy’s project explores how ancient Romans interpreted the red color of Mars and connects it to modern scientific explanations. In Roman culture, the cosmos was seen as symbolic and influenced by the divine rather than purely physical. Mars’ red color was associated with blood, fire, and violence, reinforcing its link to the god of war. Its retrograde motion, which appeared to disrupt the natural order of the sky, was viewed as a sign of conflict or instability. By comparing these symbolic interpretations with scientific understanding, the project highlights how human perspectives on celestial phenomena have evolved from mythological meaning to empirical explanation. [16, 63, 64 73, 101]
Celestial Events and Human Understanding
Jason Lu, Colin Zeng
This exhibition examines the deeper connection between celestial events and scientific but also spiritual human understanding. Throughout history, occurrences in the sky have been interpreted as more than just physical events. They act as mirrors reflecting people’s deepest fears, moral values, and the limits of our choices. The solar eclipse, which is the temporary blocking of light by darkness, serves as our main focus. However, this project also looks at the wider scope of celestial beings. The artwork pairs the eclipse with the dominating outline of a black hole. Both symbolize moments when the familiar order of the cosmos is interrupted. In Hinduism and Aztec mythology, these "shadows in the sky" were often seen as the hunger of gods like Ráhu or Tepēyōllōtl, who demanded human sacrifice or ritual to restore order and possibility of life. In contrast, the Christian tradition sees these celestial events not as actions of fear and conflict but as divine signs and harmony. By exploring these varied beliefs, we want you to wonder if celestial objects fill us with fear or give us permeability to deific beings. Whether observing the sun's corona or the event horizon of a black hole, humanity stands as the figure depicted in the vast darkness, trying to understand how unknown phenomena can connect to the overall structure of the cosmos. [22, 91, 96, 110]
Celestial Motion
Aisha Baccouche, Ada Bala, Morgan Beers
Images 1-5 (white border): Islamic
Images 6-11 (light blue border): Greek
Images 12-16 (black border): Hindu/Vedic
1. Islamic Astrolabe: One of the most important scientific instruments in the Islamic world, used to map the heavens, tell time, and calculate celestial positions.
2. Illustrated manuscript panel: This manuscript scene illustrates the observational side of Islamic science by depicting astronomy as an active scholarly practice.
3. Manuscript: This image illustrates how Islamic astronomers tracked lunar phases and the changing relationship between the sun and moon.
4. Diagram: This manuscript page demonstrates the mathematical and diagrammatic precision of Islamic astronomy as it mapped celestial motion.
5. Kaaba/qibla diagram: Illustrates astronomical and geometric knowledge orienting worship toward Mecca. Islamic science was deeply connected to religious obligation.
6. Zodiac Diagram: Shows constellations matching the astrologic names of the Zodiacs, derived from stories of Greek mythology and making up the Greek calendar.
7. Mythological Zodiac constellation diagram: primarily based on the illustrations found in the Uranometry, they are drawings of the figures depicted in the Greek constellations.
8. Greek cosmology diagram: This image depicts the universe and the world as having a limit both on its sky and ground, separating different theorized dimensions.
9. Diagram of the Solar System: the scheme of the aforementioned division of spheres. The empyrean (fiery) heaven, dwelling of God and of all the selected 10 Heavens.
10. Oronce Fine, De mundi sphaera (Paris, 1542): This image depicts the ancient Greek thought of the rotation and revolution of the planets within the solar system.
11. Head Statue of Zeus (drawn by Morgan Beers): Zeus is king of the Greek gods, ruling as the sky-and-weather deity over Mount Olympus.
12. Painting of the Sage: Depicts a famous Hindu sage, Vyasa, reviewing the Mahabharata with his disciples. He is often accredited for the epic, and is himself a figure in the story.
13. Hindu Temple (drawn by Adi Bala): Depicts a Hindu temple, oriented towards the sky. Temples were often built in accordance with the movements of the sun and other planets.
14. Carving of Rahu: Stoneworking that depicts the deity Rahu, a god who symbolizes the northern lunar node, a point in space. Rahu also governs a Hindu astrological sign.
15. Sagittarius Depiction: An illustration of the Vedic equivalent of Sagittarius.
16. Vedic Astrolabe: An old astrolabe, with a similar function as its Islamic counterpart.
[18, 25, 35, 36, 37, 38, 40, 45, 54, 55, 58, 61, 75, 78, 79, 80, 85, 86, 88, 93, 94, 104, 106, 108, 114]
ARTHIST 106 CNS
The Moon
Danae Benton, Aaditya Denduluri, Emerson Mendoza-Recinos, Kyra Pahwa
This image maps the Apollo landing sites across the Moon, transforming it from a distant celestial body into a landscape shaped by geopolitical competition. In the context of the space race, these sites function not only as scientific locations but also as symbolic assertions of American power, demonstrating technological and ideological superiority over the Soviet Union. As described in the BBC article How to See All of the Apollo Landing Sites on the Moon, these locations remain identifiable from Earth, reinforcing how political and scientific achievements were permanently inscribed onto another world as a lasting display of national presence and control. Beginning with Apollo 11’s 1969 landing, the United States shifted the space race from symbolic milestones to sustained human exploration while reinforcing its geopolitical dominance in space. Earlier Soviet achievements, such as Yuri Gagarin’s first spaceflight and the Luna Programme’s robotic missions, demonstrated technological capability, but Apollo enabled direct human interaction with the lunar surface, turning exploration into a visible assertion of systemic superiority. Missions like Apollo 15, with the lunar rover, and Apollo 17, with a geologist onboard, reflect scientific aims, yet also the continued consolidation of American presence and influence on the Moon. As shown in Fly Me to the Moon, where the landing is shaped equally by media and public perception, space is constructed through both representation and political messaging—much like this image, which frames the Moon as a mapped landscape of geopolitical projection. The image suggests that the Moon is not only a record of Cold War competition but also a foundation for how space is being redefined today. Programs like NASA’s Artemis missions extend this legacy by shifting toward sustained lunar presence and infrastructure near the Moon’s south pole. Unlike Apollo’s focus on symbolic geopolitical dominance, Artemis reflects longer-term engagement and renewed international competition in space. In this sense, the Apollo landing sites become both historical markers and reference points for the next phase of lunar exploration and geopolitical positioning. [7, 56]
Cosmos Exhibition: The Living Thread
Kirtan Patel, Adler Amolsch, Minjae Kim
The cosmos is often limited to a simple image of space and or the word “universe.” At first glance, students, including ourselves, perceive the cosmos as an expanse of matter governed by physical laws. However, this broad definition is limited as it fails to acknowledge the hidden laws that connect humans to one another and to other aspects of the cosmos. The view of the cosmos as a living web of reciprocal relationships is necessary to answer the question “What is the Cosmos?” We are not simply living in the cosmos, but rather active participants who reciprocally interact with the land, the stars, our ancestors, and generations yet to be born.
The image serves as a reflection of our perception of the cosmos as a “living thread” of relationships. Our first key element is the land. Reciprocity is a principle central to our research, specifically the idea that land and the Earth nourish us, and that we are equally responsible for caring for and protecting the land as represented by the two-way arrow. Next are the stars, illustrated with glowing lines that are connected by silhouettes of humans showing the Indigenous Hawaiian perspective of stars as “kin.” This reinforces how our relationship with the cosmos is more than just physical but relational. Likewise, our ancestors represent the past connections that have shaped us, reminding us that we are part of an ongoing continuum rather than isolated individuals. The last key element in our research is our relationship with future generations. This feature reminds us of the importance of nurturing nature to provide for our future, emphasizing our active participation in the cosmos.
Over time, we lost the perspective of a relationship with the cosmos. We began viewing the cosmos as something that has to be overcome or reached. An example of this is the Space Race. Although space exploration provided us with new information about Earth and the planets around us, it fueled the view that the cosmos was somewhere we could go, conquer, and colonize, rather than a web of relationships and community. [8, 44, 89]
Propelled to Black Holes: Space Race Advances that Enabled Understanding Black Holes
Caroline Kulka, Hannah Brosseau, John Cajski
The technological advancements spurred by the Space Race laid the groundwork for modern black hole visualizations like Jean-Pierre Luminet’s 1979 hand-plotted black hole image, Interstellar’s Gargantua, and the 2019 image of M87*. Although black holes were theorized in the 18th Century and were plausible given Einstein’s general theory of relativity over 100 years ago, major advancements in understanding them were not made until the 1970s when computing power driven by cold war competition, along with a competitive drive to explore the Cosmos, made visualizing these phenomena possible.
Our collage is a visual representation of how the technical advancements of the space race from the Soviet Union and America laid the groundwork for the eventual understanding and technology to capture black holes. Albert Einstein is featured to visually represent how his theory of general relativity also allows for our understanding of black holes. Our image represents how the cosmos is a place that is always being understood further.
This relates to the reading “The Enigma of Robert H. Goddard" which shows how Goddard's ideas of rockets once were met with a lot of public skepticism. Complex ideas regarding time and space are easy to doubt and question but are nonetheless supported by scientific advancements so far and allow us to better understand the workings of space. This directly relates to our presentation by ultimately emphasizing how space exploration not only involves purely science but also is immensely impacted by the public’s willingness to accept new social and political ideas.
Finally, this collage essentially answers the question of “What is the Cosmos?” in a dynamic way. The exploration and curiosity fueled by the cosmos has influenced political conflicts and public controversy but also has driven major scientific theories and an encompassing enthusiasm throughout the world about what lies beyond our reach. [1, 2, 9, 15, 46, 62, 74, 92]
Cosmos Exhibition Project
Lily Arcella, Amandia Scotti, Sampson Onuha, Roman Fina
Our project explores both the fear surrounding nuclear energy and its unexpected role in advancing the Space Race, with a particular focus on Explorer 1 and the discovery of radiation in space as a form of scientific progress. The collage is designed with a left-to-right color transition, where black and white images gradually shift into full color. This transition represents both the passage of time and the evolution of scientific understanding, mirroring the progression of the mid-20th century as humanity moved from the destructive applications of nuclear technology toward discovery and exploration. The black and white images, such as the atomic bomb and the Manhattan Project, highlight fear, uncertainty, and the origins of nuclear power in warfare. We also included class-inspired images like the women working in radiation environments, emphasizing the human impact and risks behind these developments.
As the collage transitions into color, it reflects how these same technologies were repurposed during the Cold War, fueled by U.S. nationalism and competition with the Soviet Union. Images of rockets, astronauts, and missions illustrate the rapid progress of space travel, including both failure and success, such as the Space Shuttle Challenger disaster, which represents the risks and setbacks. Ultimately, this progression leads to achievements like the Apollo 11 and the launch of Explorer 1, which enabled the discovery of the Van Allen radiation belts. Overall, the collage demonstrates that nuclear energy, once associated with destruction, became the foundation for innovation in the Cold War period, leading to major advancements in space exploration and discovery. [68, 69, 70, 71, 72]
Soviet and American Propaganda
Claire An, Macabee Ascher, Jacob Beatty, Nate Kutufaris
Our object is a collage of space-race era propaganda from the US and USSR. The space race served as both an ideological and nationalistic proving ground for them to demonstrate why their ideology and nation is superior. While the space race was a militaristic endeavour, both sides wanted to present to their people an image of space being a peaceful endeavour, to calm fears of war. In the Soviet Union, victories in the space race were melded with communist ideology to view the successes as the successes of the whole nation and people working together. Soviet victories in the space race allowed them to present their country as more modern and developed, specifically advertising travel by marketing the USSR as the first country to go to space. Additionally, the Soviet Union sending the first woman into space allowed for a powerful statement of communist progressivism as opposed to American backwardness. America also used its victories as a tool for propaganda, with the moon landing serving as a public statement of American victory in the space race, and for the superiority of the free market. Both states worshipped their cosmonauts as national heroes, with people such as Yuri Gagarin and Neil Armstrong being featured extensively. Specifically in the Soviet Union, Gagarin was held up as an ideal of the “New Soviet Man”, showing that in communist society, people were elevated to a higher level. The promotion of cosmonauts as role models to society also served to push young people into science that often-shared applications in the military. [24, 41, 81]
ARTHIST105S
Lidded Vessel with Iguana 250-500 CE Guatemala
Henry Johnson, Ninon Nagy, Penelope Littleton
The object is a rounded ceramic vessel with a lid. The decorated lid curves upward and features a sculpted iguana on top, which stands out as the main focal point. The bottom half of the piece is a vessel that was likely used for storage or to hold food or liquid as it was heated.
In the Mayan culture, vessels such as this bowl and lid were used ceremoniously and with large groups of people. The sharing of vessels created a strong sense of community. Animals, especially reptiles like iguanas were viewed as powerful creatures with the ability to kill at their discretion. This perception was likely shaped by observations of venomous snakes and other reptiles easily killing their prey.
The vessel was excavated from Mayan ruins in Guatemala and transported. It is possible that it may have been excavated illegally to be sold.
According to Maya cosmology, an Itz'am stands at each of the four corners of the world, with another placed atop these four. Together they form the walls and heavens of the cosmos. In his celestial aspect, Itz'am Na sends life-giving rain to the earth. He also has a terrestrial form where he is the creature who floats in the earth's primordial waters, his back serving as the earth's surface.
The Lidded Vessel with Iguana most likely has a symbolic and ritual role. This is suggested by the style of the carved, detailed reptile on top, which was viewed as mythological, not because it was venomous, but because it lived in the water “underworld.” Vessels are connected to broader cosmological ideas, linking different parts of the natural world, as reptiles.
The prevalence of reptiles on other pieces suggests that the bowl was intended to do more than hold contents; it likely played a role in expressing Maya beliefs about the natural world and its connection to everyday life. Reptiles were closely connected to water and the primordial origins of the world, symbolizing renewal and life.
Patterns like the ones shown below and on the pot are not just decorative. There is a visual language, combining artistic expression with deeply held religious beliefs, elite status markers, and written narratives. [13, 66, 112]
Changing Representations of Mary in Art
Alice K, Alex F
Our primary art piece shows Mary as the Queen of Heaven, a divine figure, wearing unusual colors like yellow and maroon, colors associated with royalty, emphasizing Catholic ideas about the divinity of the Virgin Mary. The crescent moon comes from the Book of Revelation and represents the Immaculate Conception, a popular idea in the 1500s. She holds the infant Christ, uniting motherhood and divinity. The crown, moon, and elevated pose emphasize her power, purity, and authority. This representation focuses on Mary as a divine queen rather than a human mother.
Madonna of Humility, 1390-1420, Tempera and gold leaf on panel, Gift in honor of Marilyn M. Segal by Her Family: Focuses on Mary the humble mother, shows her in her usual dress colors red and blue. She sits on the ground, Mary as woman incarnate. More human expression.
Three Standing female Saints, ca. 1470 – 1480, Oil, tempera, and gold leaf on panel, Gift in honor of Marilyn M. Segal by her children: Focuses on Mary as a symbolic and holy figure rather than a mother. She stands upright and formal, with little movement or emotion. Mary wears a green dress decorated with wheat, symbolizing fertility and the Eucharist. The gold background removes her from the real world and places her in a heavenly space. Mary is shown less as a human mother and more as a religious symbol and Queen of Heaven.
Virgin and Child with Saints Elizabeth, Lucy, the Child, Baptist, Peter and Catherine, ca. 1545, Oil in canvas, Anonymous gift: Focuses on Mary as both holy and human. She wears red and blue, symbolizing her human and divine nature. Surrounded by saints in a more realistic setting. Mary as intercessor between humans and God. [34, 53, 109]
My Mother She Fell from the Sky Lien Truong United States 2022.12.1 Oil, silk, acrylic, copper pigment and enamel on canvas 72" x 96"
Zara Enthoven, Sydney Bratton, Jaime Taylor
The artist Lien Truong fled Saigon with her family in 1975 during the Vietnam War. The title is a reference to her mother’s journey to America as a Vietnamese refugee. “Fell from the sky” is a nod to the experience of a refugee—emerging disoriented into a new country. The fruit-like shape hanging and falling from the sky suggests being dropped somewhere without control, connecting to the experience of refugees leaving their home. The shape also looks like female anatomy, which makes it feel tied specifically to her immigrant mother. Traditional Vietnamese painting techniques showing pastoral scenes provide the backdrop for the chaotic scenery - Truong contrasts an idealized memory of her colonized homeland, with the violence, specifically towards Asian women, which ensued during the AmericanVietnamese conflict. Hands feature prominently throughout the artwork, representing the role of agency and resistance exhibited by Asian women through rebuilding their lives inspite of violence and colonization. This painting connects to Vietnamese identity, regarding the environment, family and ancestors. The red strings connect to the East Asian red thread of fate, which Is a symbol of commitment and spiritual connection. The strings stretch and tangle but never break, shown by their vivid red colour, symbolic of the aspects of the Vietnamese identity being stretched to their limit. The pulling hands are the second, connecting piece of the painting. The water and hands are related to the migration and displacement of Vietnamese peoples. All of these connect to Truong’s biography, where she was born and fled with her family during the fall of Saigon. [23, 39, 67, 105]
Myth and Ritual: Greek Vessels and Storytelling
Zachary Wilson, Solene Luttway, Emily Lutzker
Large krater attributed to the painter Polygnotos, depicts the gods of the Eleusinian Mysteries Triptolemus departing in a winged chariot to teach humanity the secrets of grain cultivation, flanked by Persephone and Demeter, whose myth explains the changing seasons. Beside them: Hecate, goddess of the underworld and transitions Krater was filled with diluted wine to be distributed to symposium (elite drinking gathering) guests. Image shows use of oinochoe (pouring wine) and phiale (receiving wine). Together, they offer a glimpse into how the ancient Greeks used both image and object to honor their gods.
Shallow, wide bronze libation bowl. Used in religious rituals to pour liquid offerings (wine, milk, oil) to the gods. Form originated in Achaemenid Persia before being adopted into Greek practice. Raised central boss (omphalos) allows it to be balanced in one hand during the pouring gesture (seen on krater, phiale held by Triptolemus). Bronze material, rather than clay, signals the sacred status of the ritual itself.
In Greek mythology, Persephone is the daughter of Demeter and Zeus. She was abducted by Hades, god of the underworld, and forced to remain there after consuming pomegranate seeds. This story is how the Greeks explained the seasons: Demeter’s mourning led to the cold and death of winter, and her happiness at reunion with her daughter led to spring and summer.
Ancient Greek festivals were closely tied to the cycle of the seasons. Demeter and Persephone were worshipped in 7 festivals (Eleusinian Mysteries): the Greater Mysteries (13-23 Boedromion), Proerosia (6 Pyanepsion), Stenia (9 Pyanepsion), Thesmophoria (11-13 Pyanepsion), Haloa (26 Poseideon), the Lesser Mysteries (20-26 Anthesterion), and the Skiraphoria (12 Skirophorion). Not much is known about the rituals due to their secrecy. In general, Greek rituals featured many sacrifices, particularly giving wine to the gods by pouring it into the ground – these artifcacts would be involved in such rituals. [20, 84, 90]
POPOL VUH DE LA ABUELITA DEL AHUIZOTE
Krisha Gandhi, Ahana Kotibhaskar, Rela Asar
Translation: The Community Book of King Ahulzote's Granny
Artist: Enrique Chagoya
Origin: 2021, United States (Chaogya is from Mexico City)
Medium: Layered acrylic in and varnish on Amate paper (handmade Mexican bark paper)
Acquisition: Duke museum purchase (Inventory #: 2025.8.1)
Authoritarianism: Border patrol – represents state power at the border and highlights surveillance that often involves violence; relevant to modern debates about immigration. Swastika – associated with Nazi Germany and extreme authoritarianism with total government control, suppression of dissent, racism, and genocide.
Sanitized media/ historical erasure: George Washington as superman – Blends a founding father with a comic book hero, showing how history is often heroified, and thereby sanitized; complex, flawed figures are converted into symbols of moral integrity and strength, ignoring the dark history of violence, colonization, and contradiction behind it. Mayan codex-style glyphs – referencing indigenous methods of storytelling and the passing of knowledge largely destroyed during colonization, signifying historical erasure.
Connection to the cosmos: It presents the cosmos as shaped by the histories and cultures of the Americas, where indigenous narratives and lived experiences inform how modern humans understand space, time, and their place in the universe.
Historical Context: Indigenous roots – based on Maya (Popol Vuh) and Aztec traditions and uses codex-style format. Spanish conquest (1500s) – destruction of indigenous cultures and texts and rewriting of indigenous stories by Spanish colonizers. Mexican satire influence – use of humor and paradoy of El Ahuizote to critique systems of power.
Colonization as an ongoing process: Military violence and control (soldier with gun) – The soldier with a flower gun represents how modern systems of power continue colonization by disguising control and violence as peace or protection, through the flower. It shows that colonization continues not just through force, but through transforming identities – where even indigenous figures can become part of controlling systems.
Cultural hybrid: Formation of mixed, layered identities—hybrid figures and overlapping faces illustrate how identities are no longer singular, representing the complex cultural identity we have today. Blending of indigenous and modern visual systems – Chagoya mergers codex-style imagery with contemporary symbols like Batman and cartoon figures, showing how traditional and global cultures coexist and reshape each other. [5, 31, 83]
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