The third issue of Convergence features Indigenous and diasporic art, artists, and projects from ... more The third issue of Convergence features Indigenous and diasporic art, artists, and projects from around the world, including Jaishri Abichandani, Iván Argote, Sasha Huber, Franck Kemkeng Noah, Lehuauakea, Amour and Christian Makouaya, Rebeca Romero, and more.
Convergence was an independent magazine for Indigenous and diasporic arts. This second issue feat... more Convergence was an independent magazine for Indigenous and diasporic arts. This second issue features the Shipibo Conibo Center, Orama Nigou, Gabriela González Leal, Xuezhi Liu, and more.
In this issue, an Indonesian philologist and archaeologist, a Taiwanese sculptor, doctoral studen... more In this issue, an Indonesian philologist and archaeologist, a Taiwanese sculptor, doctoral students in art history and archaeology, Peruvian weavers, and a Māori sculptor share with us their approach and points of view. They discuss the arts and traditions that animate them and contribute to their larger opinions, experience, and knowledge.
Cerro Baúl, a site perched on a mountain in the Moquegua Valley (Peru), was once the southernmost... more Cerro Baúl, a site perched on a mountain in the Moquegua Valley (Peru), was once the southernmost outpost of the Wari Empire (600-1000 C.E.). Over the last three decades, the Proyecto Arqueológico Cerro Baúl (PACB) has excavated 62 nearly complete decorated ceramics in the central sectors of the site, ranging from tumblers to figurines. This limited but diverse assemblage demonstrates the forms and motifs employed by elite agents during ritual practices and occasions of socio-political engagement at Cerro Baúl. Through a detailed analysis of this corpus, we gain insights into the Wari provincial ceramic tradition, and we highlight the motifs, forms, and styles prioritized by the empire at a site in direct interaction with Tiwanaku.
Colorful feathers were an important part of the regalia and martial attributes of the Mexicas, wh... more Colorful feathers were an important part of the regalia and martial attributes of the Mexicas, who used them on headdresses, shields, capes, but also on the images of their gods. Despite the early interest of Europeans in the American featherwork, some bird species used by the amanteca remain undetermined to this day. The thorough study of two manuscripts written under the direction of Fray Bernardino de Sahagún, the Primeros Memoriales and the Florentine Codex, has revealed an inconsistency between the way the toztli, or "yellow parrot," has been described and depicted in the colonial sources, and its current identification as the Amazona oratrix. This bird is more likely to have been a rarer specimen, native to lands located far from the Mexica heartland. [
The third issue of Convergence features Indigenous and diasporic art, artists, and projects from ... more The third issue of Convergence features Indigenous and diasporic art, artists, and projects from around the world, including Jaishri Abichandani, Iván Argote, Sasha Huber, Franck Kemkeng Noah, Lehuauakea, Amour and Christian Makouaya, Rebeca Romero, and more.
Convergence was an independent magazine for Indigenous and diasporic arts. This second issue feat... more Convergence was an independent magazine for Indigenous and diasporic arts. This second issue features the Shipibo Conibo Center, Orama Nigou, Gabriela González Leal, Xuezhi Liu, and more.
In this issue, an Indonesian philologist and archaeologist, a Taiwanese sculptor, doctoral studen... more In this issue, an Indonesian philologist and archaeologist, a Taiwanese sculptor, doctoral students in art history and archaeology, Peruvian weavers, and a Māori sculptor share with us their approach and points of view. They discuss the arts and traditions that animate them and contribute to their larger opinions, experience, and knowledge.
Cerro Baúl, a site perched on a mountain in the Moquegua Valley (Peru), was once the southernmost... more Cerro Baúl, a site perched on a mountain in the Moquegua Valley (Peru), was once the southernmost outpost of the Wari Empire (600-1000 C.E.). Over the last three decades, the Proyecto Arqueológico Cerro Baúl (PACB) has excavated 62 nearly complete decorated ceramics in the central sectors of the site, ranging from tumblers to figurines. This limited but diverse assemblage demonstrates the forms and motifs employed by elite agents during ritual practices and occasions of socio-political engagement at Cerro Baúl. Through a detailed analysis of this corpus, we gain insights into the Wari provincial ceramic tradition, and we highlight the motifs, forms, and styles prioritized by the empire at a site in direct interaction with Tiwanaku.
Colorful feathers were an important part of the regalia and martial attributes of the Mexicas, wh... more Colorful feathers were an important part of the regalia and martial attributes of the Mexicas, who used them on headdresses, shields, capes, but also on the images of their gods. Despite the early interest of Europeans in the American featherwork, some bird species used by the amanteca remain undetermined to this day. The thorough study of two manuscripts written under the direction of Fray Bernardino de Sahagún, the Primeros Memoriales and the Florentine Codex, has revealed an inconsistency between the way the toztli, or "yellow parrot," has been described and depicted in the colonial sources, and its current identification as the Amazona oratrix. This bird is more likely to have been a rarer specimen, native to lands located far from the Mexica heartland. [
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