Coins In Art (V2.0; Evergreen)

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In this work from 2016, Athabascan and Alutiq artist Rebecca Lyon depicts her Dena'ina Athabascan great-grandmother, Anastasia Nutnaltna. Born in 1886, the same year the Statue of Liberty was dedicated in New York, Nutnaltna lived under colonialism and enjoyed few liberties during her lifetime. Lyon celebrates her great-grandmother as an emblem of women's rights. Indigeneity, and decolonization, drawing attention to past injustices and making space for a brighter, more equitable future.

Using motifs from the American flag and the US twenty-dollar bill, Lyon re-casts national and political symbols. President Andrew Jackson, a slave-owner termed the "Indian Killer" due to his displacement and harm against indigenous peoples, is eclipsed by a portrait of Lyon's great-grandmother. Lyon suggests that American iconographies of power are problematic, but also mutable.

Lyon's contemporary take on a traditional Dena'ina Athabascan nitnuqeyiski, or counting cord, encircles the image. Counting cords, historically made of hide and embellished with beads, feathers, or other objects, were used to record events in a person's life. Lyon's nontraditional counting cord is intended to "document and celebrate the struggle for equal rights for women of all races."

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This room hosts a part of the large fresco complex of the Santa Maria di Mezzaratta church, one of the most important text of the Bolognese painting history, detached since the early 50's and then recomponed here following the original architectural structure.

This cycle, described carefully even by Vasari, was begun by Vitale da Bologna who panted the entering wall of the church with his Announciation , the Nativity and the Virgin's Dream at the beginning of the 1340's.

The fresco decoration continue along the lateral walls, with a traditional iconography: on one side the Old Testament stories (Joseph, Moses, and other now lost scenes) and on the other side the Christ stories,all made by Vitale's pupils like Simone, the "first Jacobus", the Master of the Pit and the Master of the Adulteress, and then the interventions of Jacopo Avanzi and Jacopo di Paolo, of the second generation of arrtists inspired by Vitale. The historical sources talk about a third section, the lowest (of which only few fragments remain on the original site) with Stories of Christ 'Passion attributed to the XVth century ferrarese artist Galasso.