Tag Archives: Colonial

Radiant Geometries Exhibition: Vectors of Knowledge from Indigenous Americas 

Moody Center for the Arts at Rice University  Announces for Fall 2026
On view September 4 to December 19, 2026, this ambitious group exhibition explores Indigenous knowledge systems and their longstanding relationship with math, science, and technology in the Americas.Eamon Ore-Giron, Black Medallion XIV (Inti), 2022. Mineral paint and flashe on linen, 198 x 258 in. © Eamon Ore-Giron 2022. Courtesy of the artist and James Cohan, New York. Photo: Charles White. 

July, 2026 (Houston, Texas) — Through a framing of North, Central, and South America as interconnected regions, Radiant Geometries: Vectors of Knowledge from the Indigenous Americas brings together contemporary Indigenous and Latin American artists whose practices illuminate knowledge as a living technology, through which the mathematical, metaphysical, and artistic realms converge. At a moment when the social and environmental consequences of technological advancement are prompting global debate, this selection of works—among them paintings, sculptures, textiles, video works, and site-specific commissions—conveys relational teachings rooted in the Americas.

Opening September 4, 2026, the exhibition features national and international artists, including Nanibah Chacon, Melissa Cody, Jordan Ann Craig, Patricia Domínguez, Sara Flores, Natalia Montoya Lecaros, Patrick Martinez, Cisco Merel, Caroline Monnet, and Eamon Ore-Giron, among others. 

  “At its core, Radiant Geometries centers Indigenous ways of knowing that continue to shape relationships to territories, waterways, and interspecies care,” said Noor Alé, Moody Center for the Arts Associate Curator. “By reconsidering the histories of mathematics, architecture, and science through Indigenous perspectives, the exhibition invites viewers to consider the enduring connections between cosmology, technology, and the living world.” Patricia Domínguez, Matrix Vegetal, 2021-22. Video 4K, 21:12 min. Commissioned by Screen City Biennial, with the support of Cecilia Brunson Projects and Galería Patricia Ready.

 Set on the campus of a leading research university, the Moody’s presentation includes artists whose works evoke the symbiotic relationship between art, math, technology, and science, often through the language of abstraction. Among them, Sara Flores’s paintings foreground the interdependence of all life forms and call attention to interspecies care; Patrick Martinez’s painted sculpture, inspired by the pre-Columbian murals of Cacaxtla, positions Indigenous architecture as sites of material knowledge and urban intelligence; Natalia Montoya Lecaros’s totemic sculptures draw on an Aymara ceremonial dance that honors agricultural cycles; Caroline Monnet’s Styrofoam installation etched with Anishinaabe iconography, reconsiders colonial legacies in architecture; Patricia Domínguez’s videos explore astronomy and plant intelligence to bridge spiritual and scientific divides; Cisco Merel’s totemic work references protective sigils found in Guna textile traditions; and Melissa Cody’s jacquard tapestry fuses Navajo textile traditions with computational aesthetics.  

In addition, newly commissioned works extend the visibility of knowledge as an evolving technology, illuminating its transmission across generations while continuously responding to the future. These works include an interactive sound installation with Diné designs from Nanibah Chacon; installation and paintings by Jordan Ann Craig that explore Cheyenne beadwork and parfleche designs drawn from museum collections in Texas and Colorado; and new paintings from Eamon Ore-Giron inspired by Maya ceramics in Rice University’s collection.  Sara Flores, Untitled (Shao Maya Punté Kené 1, 2022), 2022. Vegetal dyes on wild-cotton canvas, 59 x 122 3/8 in. Private Collection of Timothy C. Headington. Courtesy of the artist and The Shipibo Conibo Center. Photo © JSP Art Photography.  

“Through this compelling selection of works and complementary programming, we’re able to achieve the Moody’s mission to synthesize Rice’s academic resources and artists’ creative insight into meaningful connections and critical dialogue,” said Joel Thompson, Moody Center for the Arts Deputy Director.  Featured artists include Nanibah Chacon (Diné/Chicana) (b. 1980 in Gallup, New Mexico; lives in Albuquerque, New Mexico), Melissa Cody (Navajo/Diné) (b. 1983 in No Water Mesa, Arizona; lives in Long Beach, California), Jordan Ann Craig (Northern Cheyenne) (b. 1992 in San Jose, California; lives in Santa Fe, New Mexico), Patricia Domínguez (b. 1984 in Santiago de Chile; lives in Puchuncaví, Chile), Sara Flores (Shipibo-Konibo) (b. 1950 in Tambomayo, Peru; lives in Yarinacocha, Peru), Natalia Montoya Lecaros (Aymara) (b. 1994 in Iquique, Chile; lives in Santiago de Chile), Patrick Martinez (b. 1980 in Pasadena, California; lives in Los Angeles), Cisco Merel (b. 1981 in Panama City; lives in Panama City), Caroline Monnet (Anishinaabe/French) (b. 1985 in Ottawa, Canada; lives in Montreal), and Eamon Ore-Giron (b. 1973 in Tucson, Arizona; lives in Los Angeles), among others.    

The exhibition is curated by Noor Alé, Associate Curator. Graphic design is by Sébastien Aubin.    Radiant Geometries: Vectors of Knowledge from the Indigenous Americas is made possible by the Libbie Rice Shearn Moody Fund for the Arts and the Thomas D. and Pamela Riley Smith Endowment for the Moody Center for the Arts. Major support is provided by the City of Houston through the Houston Arts Alliance, the Elizabeth Lee Moody Excellence Fund, the H. Russell Pitman Fund for the Moody Center for the Arts, and the Moody Center for the Arts Founders Circle.     Special ProgrammingNatalia Montoya Lecaros, Tótems de emergencia, 2021. Series of modular MDF sculptures, with tempera paint, acrylic yarn, beads, lined cardboard, and bird feathers, 37 x 33 x 28 in. Courtesy of the artist and Judas Galería. 

For The Silo, Erin Rolfs.

Featured image– ORE-GIRON_Talking Shit with Macha’acuay, the Serpent of the Milky Way_2025_credit-Charles White

The 2 Georges of the Revolutionary War

While enemies, the British king and American leader had similarities

7 MINUTE READ

They were sworn enemies but never met. They shared interests but couldn’t avoid conflict. And though their paths diverged — one relinquished his command, while the other clung to power — each was fiercely devoted to his cause.

They are the two Georges. General George Washington, who would become the first U.S. president, and King George III, Britain’s monarch during the American Revolution. While the former fought for a new form of government and the latter to maintain rule by divine right, the two Georges’ lives and interests overlapped a great deal, presaging the modern alliance that both countries now call “the special relationship.”

A tale of two Georges

During British King Charles’s recent visit — and bookended by President Trump’s hospitality at the White House — the king spoke to Congress and called Washington “a city which symbolizes a period in our shared history, or what Charles Dickens might have called ‘A Tale of Two Georges.’”

In truth, while we think of the two Georges as “complete opposites,” says John Powell, director for the Library of Congress exhibit,  “they had, in some ways, similarities. They were both British. … They read many of the same books. And they were interested in science and farming.”

The exhibition, called The Two Georges: Parallel Lives in an Age of Revolution,  honors the 250th anniversary of America’s founding. It brings together the two men’s writings for the first time, drawing on collections in the United States and United Kingdom. The idea behind it stems from work by the Library of Congress and the United Kingdom’s Royal Collection and Royal Archives to digitize the men’s letters. While it will remain available online, the physical display closes in Washington July 4 and will open next at the Science Museum in London.

The exhibit helps one understand the war-time adversaries by offering their own words … and reveals unlikely commonalities.

Venn diagram showing commonalities between George Washington and King George III of England.

“Both of them were very keen on their sense of duty,” presidential historian Feather Schwartz Foster says. “They had a great sense of persona. George Washington, mainly because he wanted to, and George III, because that was how he was raised.”

Born six years apart, each of the men known as fathers of their countries lost his own father at a young age. (Washington was 11-years-old, and then-Prince George was 12.) Each was raised by a widowed mother, and each wed in the Enlightenment style, sharing influence over a marriage with his respective wife to an uncommon degree for the times. Both were family men. George Washington helped raise two step-children from his wife Martha’s first marriage, as well as nieces, nephews and grandchildren. George III and Queen Charlotte had 15 children.

They were passionate about agriculture, especially the emerging methods for farming, gardening and landscape design. Both men drew up crop rotations and took an interest in animal husbandry.

Washington worked as a surveyor, charting new territory in his home state of Virginia. The king studied surveying also, and his surveyor’s compass is included in the exhibition.

Rosalyn Schanzer, author of the children’s book, George vs. George: The American Revolution as Seen from Both Sides, notes the Georges were excellent horseback riders and enjoyed long rides in nature. “If they hadn’t been so far away from each other, they might have liked each other better than they did,” she says.

Yet Great Britain’s treatment of the American colonies set the two men at odds. Washington would fight for his fellow colonists, who had been denied representation in the British parliament and who had other serious complaints — for instance, the imposition of unjust taxes from afar by the king’s government.

The king would not give up the colonies without a fight, says Foster, the historian. George III’s attitude — “I’m king because God wants me to be, and I don’t have to answer to anybody other than God,” is how Foster describes his thinking — struck the colonists as a tyrannical attitude.

Visitors touring exhibition of "The Two Georges: Parallel Lives in an Age of Revolution" (Library of Congress/Shawn Miller)
Visitors tour the “The Two Georges: Parallel Lives in an Age of Revolution” at the Library of Congress in Washington. (Library of Congress/Shawn Miller)

After the war, the two sides’ shared language and history drove something of a cultural rapprochement. While still developing their own literary traditions, many Americans read British literature, says Andrew O’Shaughnessy, a British-born history professor at the University of Virginia and co-author of “Republic and Empire: Crisis, Revolution, and America’s Early Independence.”

The newly minted United States remained a strong trading partner with its former colonizer. American ideas about human freedoms percolated in Great Britain, influencing British people’s perceptions of the aristocracy and the British government’s foreign affairs.

After leading America’s fight for independence, Washington resigned as commander-in-chief of the Continental Army and returned to his farm at Mount Vernon. Upon hearing of Washington’s decision, George III reportedly said, if “He did [this], He would be the greatest man in the world.”

Despite that admiration for Washington’s actions, the king was initially so distraught over losing the American colonies that he considered abdicating the throne. Instead, he ruled until his death in 1820. According to John Adams, the first U.S. minister to Great Britain, George III would eventually come to terms with losing the American colonies.

“I was the last to consent to the Separation,” Adams reported the king saying. “But the Separation having been made and having become inevitable, I have always said, as I say now, that I would be the first to meet the friendship of the United States as an independent power.”

For the Silo, Susan Milligan / ShareAmerica (freelance writer).