As the curator, I took three main approaches to expressing the theme of transnationalism. The first was to display a diversity of styles, colors, and motifs found across the Church in the vestmentation. Therefore, the compilation of images found from all corners of the internet were selected based upon personal discretion and knowledge. This creates an interesting dynamic regarding representation. Because museum exhibitions are at risk of misrepresenting the objects selected due to an outsider’s perspective from a curator, this conflict of representation is subverted in this exhibition which comes from an emic perspective. The second approach to displaying transnationalism was to show the different variations of vestments and dress by role in the church. The vestments worn by bishops and priests differ in the symbolic elements and in status. A monastic’s humble dark robes are not vestments themselves, but a monastic by definition in the Orthodox church, is called to live in poverty and humility. The third approach was to show the diversity of ethnicities found within the church and how each culture has adopted the same traditions and morphed them in a unique way while maintaining the symbolism and importance of Orthodox vestments. One distinction stressed in the exhibition is the “maximalist” approach Orthodoxy takes to worship. Compared to the “austerity” of Protestant sects and the Western style of Catholicism which holds its own unique beauty, the Orthodox church has maintained the traditional vestmentation for nearly 2000 years. I incorporated this element of “crossing the border of time” by including Orthodox icons where the saints depicted, despite being painted centuries previous to the contemporary age, adorn the same vestment style. These incorporated perspectives and approaches are to help inform the audience as best as possible despite the only small portion of the faith which can be represented in this exhibition. 

Enjoy the exhibition!