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Issue 10

Published April 2019

masthead

 

Editor in Chief: Hailey Mah

Managing Editor: Grace Chang

Graphic Designer: Hubey Razon

Editors: Sarah Anderson, Fiorela Argueta, Lucas Beatch, Leo Cocar, Kristin Conrad, Yuko Fedrau, Maxim Greer, Julia Wong

Contributing Artists: Bojana Bozin, Noelle Celeste, Tyler Homan, Chubing Liang

Contributing Writers: Clara Huang, Shai Ophelia Kehila, Connor Watson, Yasmine Whaley-Kalaora

 

Articles

Basil Fox, Photographer.  Chemistry Class Kamloops Indian Residential School, British Columbia, ca. 1959 . From: Canadian Government Archives: Residential Schools: Photographic Collections, c. 1959.

Basil Fox, Photographer. Chemistry Class Kamloops Indian Residential School, British Columbia, ca. 1959. From: Canadian Government Archives: Residential Schools: Photographic Collections, c. 1959.

Breeding Colonial Photo-Literacy

Yasmine Whaley-Kalaora

“These photographs were taken with an agenda; one that abides by the imperialist understanding that Indigenous people will benefit from adopting the hegemonic way of life. This notion, in and of itself, is intrinsically colonial.”

 
B.G-Osborne,  A Thousand Cuts  (2018). Installation view at The New Gallery’s +15 Window Gallery, Arts Commons. Photo courtesy of the artist.

B.G-Osborne, A Thousand Cuts (2018). Installation view at The New Gallery’s +15 Window Gallery, Arts Commons. Photo courtesy of the artist.

Ideology, Censorship, and Transgender Media (Mis)Representation: What Role Has Film Played in the Marginalization of Transgender Subjects, and How Might Queer Art Aesthetics Pave the Future of Representational Politics?

Shai Ophelia Kehila

“A Thousand Cuts unravels the way in which media is strategically enrolled to labour political ideology, and by extension, attends to the violent, lived implications etched within the politics of representation.”

Note: The online version of this paper contains an added subtitle and updated images that were not published in the print edition of UJAH. We apologize for this error.

 
Sofonisba Anguissola,  The Chess Game , 1555. National Museum, Poznan. Photo: Wikimedia Commons

Sofonisba Anguissola, The Chess Game, 1555. National Museum, Poznan. Photo: Wikimedia Commons

Portrait that Protests: Sofonisba Anguissola’s The Chess Game of 1555

Clara Huang

“With a chain of actions and reactions built in, The Chess Game broke portraiture away from its limitations as a ‘static image.’”

 
Mieko Shiomi.  Spatial Poem No. 1,  1965 . The Gilbert and Lila Silverman Fluxus Collection Gift, the Museum of Modern Art, New York.

Mieko Shiomi. Spatial Poem No. 1, 1965 . The Gilbert and Lila Silverman Fluxus Collection Gift, the Museum of Modern Art, New York.

Mieko Shiomi: Claiming the Self through Action and Object

Connor Watson

“Instead of simply challenging or pushing against established norms of art, life, and sociality, [Mieko] Shiomi offers alternative modes of engaging with these spheres.”

 

Reviews

Dana Claxton,  Cultural Belongings , 2016, LED firebox with transmounted chromogenic transparency. Collection of Rosalind and Amir Adnani

Dana Claxton, Cultural Belongings, 2016, LED firebox with transmounted chromogenic transparency. Collection of Rosalind and Amir Adnani

Reclamation, Beauty, and the Palindrome in Dana Claxton: Fringing the Cube

Lucas Beatch

Note: The online version of this paper contains a different version of the text than the version that was published in the print edition of UJAH. We apologize for this error.

 
Carlene West,  Tjitjiti , 2015. Photo by Sid Hoeltzell.

Carlene West, Tjitjiti, 2015. Photo by Sid Hoeltzell.

Painting as Personal History: Examining Critical Curatorial Practice in Marking the Infinite

Yuko Fedrau

 
Installation view,  carbon study: walking in the dark  by Genevieve Robertson at Access Gallery. Photo by Rachel Topham.

Installation view, carbon study: walking in the dark by Genevieve Robertson at Access Gallery. Photo by Rachel Topham.

Environmental Memories: Genevieve Robertson’s Carbon Drawings at Access Gallery

Fiorela Argueta

 

ARTIST PROFILES

 
Untitled (Fall 2019).

Untitled (Fall 2019).

The Outsider within the Image: Tyler Homan and the Deconstruction of Bias

Sarah Anderson

 
The Fraternity , set of light boxes, 2018. Courtesy of the artist.

The Fraternity, set of light boxes, 2018. Courtesy of the artist.

Gender, Branding, and Nationality in Bojana Bozin’s The Fraternity: Identity Assemblage for the Twenty-First Century

Maxim Greer

 
Alien , plants in resin, soil, 2017. Photographed by Hubey Razon.

Alien, plants in resin, soil, 2017. Photographed by Hubey Razon.

Alien Evolution: Chubing Liang

Kristin Conrad

 
Untitled (Weather Girl) , video still, 2018. Courtesy of the artist.

Untitled (Weather Girl), video still, 2018. Courtesy of the artist.

Towards Knowing the Unknown: Noelle Celeste on Avatar Creation and Empathetic Digital Spaces

Julia Wong

 

The Undergraduate Journal of Art History & Visual Culture (UJAH) is a free student journal published by the Department of Art History, Visual Art and Theory and the Art History Students’ Association at the University of British Columbia. All material is copyright © 2019 UJAH, authors. All inquiries can be emailed to ubc.ujah@gmail.com.

UJAH gratefully acknowledges the financial support of the UBC Art History Students’ Association and the UBC Arts Undergraduate Society, as well as the editorial and financial support of the Department of Art History, Visual Art and Theory at the University of British Columbia.

UJAH’s editorial team would like to acknowledge that we work and learn on the traditional, ancestral, and unceded territory of the Musqueam people.

Issue 10, Spring 2019. Published since 2009. Cover design by Hubey Razon.