Culture Strike runs counter to this line of defense, callinginstead for more nuanced accountability, collaboration, and an overall slowing down toallow time for inclusive and intentional decision-making.

are models set up by initiatives like the Rhode Island School of Design’s“Look at Art. Get Paid.,” which paid people who would not typically visit museums, orparticipate in their running, to be guest critics of both the art on display and theinstitution itself

re-imagine museum interpretation through the lens of an exchange of knowledge withpublics rather than broadcasting to them

John Cotton Danawarned in his 1917 essay “The Gloom of the Museum.”

At the core of Culture Strike is a simple insistence that museums must not “forgettheir public

the spirit of Aruna D’Souza’s Whitewalling: Art, Race, & Protest in 3 Acts(2018), which unpacks three incidents of publics calling for New York institutions toaddress tacit and explicit racism within three exhibitions across three decade

led her to leave her post in January 2018

Raicovich defines protest as “an act ofradical care”

For Raicovich, these interruptions tobusiness-as-usual are openings for understanding and reimagining the ways museumswork and for whom

New York’s Leslie-Lohman Museum of Art, president andexecutive director of the Queens Museum, head of Global Initiatives at Creative Time,and deputy director at Dia Art Foundation.

Decolonize This Place (DTP)

articles contained in this volume are oriented, not toward University studentsor museum visitors, but toward current and future generations of museum educatorsand higher education providers.

This numerical control sym- bolically links the temple with the mathematically determined structure of the universe.

hough sexual compositions are sometimes interpreted as portrayals of esoteric rites associated with Tantric cults, their presence in Hindu art is better understood as part of a widespread belief in the magical efficacy of sex to protect a sacred monument, hence their placing at the ritually vulnerable parts of temples.

n Kant’s terminology, appearance is the “phenomenal world’ while reality is “noumenal.” We have no intuition of noumena, he concedes.

Metaphysics is a forlorn endeavor, - a waste of time, a misbegotten enterprise born of miscalculation about the scope and depth of human capacities.

Observation and hypothesis, the methods of science, are fallible and concern details. But reflection and analysis, the methods of metaphysics, working on knowledge rather than on the world directly, uncover the necessary and general structure of fact.

Out of this approach grew the practice of analyzing the concepts we employ in describing the world, sifting from among them certain essential basic elements, categories, which must underpin any knowledge whatever.

t may all prove on deeper analysis to give no specification of reality but remain wholly within the domain of appearance.

The pai aft i truth is, then, that appearance and reality may, or may not coincide

ut a trend is not a reality either.

his trend is a logical construction out of people’s changing their places of residence.

conception,

perception,

od; and, on the other, there is the idea of a universal or perfectly general discipline whose task it is to consider things from the perspective of their being beings or existents and to provide a general characterization of the whole realm of being.

ategories.

metaphysics has as its goal the apprehension of truth for its own sake.

or if there are problems with characterizing the world as it is, there ought to be similar problems with characterizing our thought about the world,

Kant

empiricists

qua

ll these facts suggest that the rock-crystal lamp was conceived by the pious Muslim not only as the sacred crystal or glass lamp of sura 24 but also as a drinking ves- sel, made of paradisiac water, full of luminous water like the clear, pure and sacred water of Eden.

nd on the other hand, more than once, a transparent drinking vessel is compared toa lamp or to a source of light.

e may conclude that in the Qur’an, both water and light are regarded as the basic elements of life and reveal God’s omnipotence in bestowing life

1174 and before 1183,

cult

This suggests that, however mediated, such scenes had become quite widely dif- fused.

he dec- orative vocabulary and the iconographic elements may be similar, but the style is decidedly not, espe- cially when it comes to human figures.

a low relief of interlacing scrolls constituting the background, and a higher relief with the main motifs.

n fact be keeping us from considering other contexts?

hey are also ubiquitous themes that occur in various media and contexts.

re connected with princely life,

pen- Fig, 130. Plaque, ivory. Fatimid Egypt, ith century. H: 7.5; W: 17.2 cm; thickness of frame c. 0.5 cm. ~ Museo Nazionale del work,

Neoclassical idea that sculptural objects, whether marble or ivory, should be white.

ne possible interpretation is that colour contrast served to outline and separate different fields, and possibly even to emphasize depth.

nisba

frigiya

Fatimid textiles from Egypt,”

Here the focus will be on a range of representative examples, and on the complex ways in which they relate both technically and stylistically to production elsewhere in the Mediterranean region.

phere migrated and were told in the new Christian milieu.

vory containers in general and rectangular caskets with truncated pyramidal lids, like the caskets under dis- cussion, in particular were frequently used as relic con- tainers in church treasuries.

turbaned horsemen holding bows were depicted in the sealed house.

those who are depicted inside it will invade the country. And so it was: in the same year the Arabs invaded Spain.

he griffin and the winged unicorn — , however, remains unsolved in this context.

These images, then, reinforce the good wishes conferred upon the noble owners of the caskets.

might hint at the meaning of the inner decoration of these Norman palaces;

It is of course dangerous to read too much meaning into an image.

ld

ivories from Cuenca are a testimony to the decline of ivory manufacture in Spain.

likely that the whole group of ivories was manufactured in the workshop of the Zayyan family in the city of Cuenca, and that, accord- ing to the inscriptions on three items of this group, they were all made for potentates of the Dhu’l-Nunid dynasty.

reliquary

as symbols par excellence of tri- umph over the Islamic enemy.

egarded as one of the most valuable pre- sents for a member of the royal family.

this dynasty,

lmost every looted object was regarded by the Christians as a further symbol of the liberation of the Iberian Peninsula.