The images above are from Jerusalem-born artist Dor Guez’s Lillies of the Field series, part of his 2023 exhibition Colony at Princeton Art Museum’s Art@Bainbridge gallery project.

From the museum about the exhibition and this series (by curator Mitra M. Abbaspour) –

Guez, whose family are Palestinians from Lydda on his mother’s side and Jewish immigrants from North Africa on his father’s, has developed a practice of engaging historical objects, especially photographs, to reveal unwritten and overlooked pasts. Colony / Dor Guez brings together works that resulted from the artist’s years of research in the archives of the American Colony, a charitable Christian community established in Jerusalem in 1881 by American expatriates. In the first decades of the twentieth century, the artists of the American Colony created hundreds of photographic views of the locations described in Jewish, Christian, and Muslim religious texts that collectively came to be known as the Holy Land. These photographic prints, albums, and picture postcards, which attracted an international audience, form a substantial visual record of the region from this era. In this exhibition, the contents of the American Colony archive and the vision of the Holy Land that they produced are, respectively, the source materials and subject matter for Guez’s artistic exploration…

Two of the arrangements pictured in Lilies of the Field are captioned “Mosque El-Aksa” and feature delicate pressed-flower arrangements as stand-ins for this site of spiritual significance. Built on an elevated point in the Old City of Jerusalem, the El-Aksa Mosque is adjacent to the Dome of the Rock and the Temple Mount, understood as the point of departure for the Prophet Muhammad’s night journey or the story of Abraham’s near-sacrifice of Isaac, depending on one’s faith tradition. Captions for another pair of floral arrangements draw associations between the pictures and Bethlehem on Christmas Day and to the Grotto of the Nativity, the day and site of Jesus’s birth. Through their design and presentation, the botanical samples pressed into the album pages take on the qualities of a reliquary, carrying the trace of a holy site through space and across time.

Turn-of-the-century photography relied on devices such as albums and glass-plate negatives to create photographic objects that would transport their viewers—not just visually but experientially—to the significant sites pictured. It is notable, then, that in the creations of the American Colony, pictures of early twentieth-century Jerusalem are layered with symbolic weight, metaphoric meaning, and set into the viewer’s imagination. Guez’s artworks extend the metaphors to the present—reminding us that as the American Colony constructed an idea of the Holy Land and its inhabitants to meet the desires of international audiences, the idea of Jerusalem as a place continues to accrue meaning over time through the images we create and the stories we tell about it.