masthead
Co-Editors in Chief: Aja Papp, Tatiana Povoroznyuk
Graphic Designer: Akari Esaka
Assistant Graphic Designers: Avin Alimohammadi, Zoe Lin
Editors: Héloïse Auvray, Syed Apanuba Puhama, Mia Chen, Kiran Dhaliwal, Joe Salmon, Eve Salomons, Claudine Yip, Kathy Zheng
Contributing Artists: Jayden Dreher, Zoë Eshan, Lewis Reid
Contributing Writers: Pamela Aracena Velazquez, Héloïse Auvray, Doris Fuller, Ivy Li, Cynthia MacMillan, Shabnam Shahkarami, Claudine Yip
Articles
André Breton. Breton’s Studio Wall (Mur de l’atelier d’André Breton). © ADAGP, Paris / SOCAN, Montréal (2021). 1922-66.
Surrealism and the Pacific Northwest Coast: The Circulation of Objects
Cynthia Macmillan
“It is important to explore why these objects circulated in the first place, what kinds of narratives were associated, and ultimately why repatriation is important in this discussion.”
La Pila Fountain, 1562, Chiapa de Corzo, Chiapas, Mexico. Author photo 2018.
Un símbolo mestizo: The Chiapaneca Brick Fountain as a Product of the Transcultural Landscape of New Spain
Doris Fuller
“By exploring the function and architectural significance of a brick fountain (1562) located in the downtown plaza of Chiapa de Corzo, Mexico, it is possible to begin to understand how colonial architecture served as a stage for the intersection between Mudejar, European, and local Indigenous traditions.”
Sofonisba Anguissola,Bernardino Campi Painting Sofonisba Anguissola, 1559, oil on canvas, 111 x 110 cm, Pinacoteca Nazionale, Siena
Unfolding the Overlapping Bodies: An Analysis of Sofonisba Anguissola’s Self-Portrait Miniature in Boston as a Feminist Manifesto
Ivy Li
“Anguissola, as the artist of this painting, plays both the role of the subject and object, the creator and the created.”
Parviz Tanavoli . Heech Lovers, 2007. Reproduced by permission of Parviz Tanavoli.
NOTHING: Parviz Tanavoli and Iranian Modernism
Shabnam Shahkarami
"Modern calligraphy saturated the market to satisfy the thirst of new bourgeois clients, who were looking for modern art to decorate the walls of their offices and homes. In response to such a commercialization of art and calligraphy, Tanavoli decided to make nothing.”
ARTIST PROFILES
Discursive Performativity, photo documentation of performance, 2020.
Jayden Dreher: Revolutionizing Relationships in Embodied Practices
Kiran Dhaliwal
Tecclesiomentist Hood, recycled leather, cotton, 2021.
Stories Told by Empty Worlds: Lewis Reid on World-Building as a Philosophical Tool
HéloÏse Auvray
Reverse Readymade: Landscapes, water and honeybee pollen on leaves, grass, and reeds, 2021
Zoë Eshan: Exploring Emotional Attachment Through Materiality
Syed Apanuba Puhama
Reviews
Paul Wong. Club Cafe. 1997. Photo courtesy of the Museum of Vancouver.
A Seat at the Table, Chinese Canadian Museum and Museum of Vancouver
Claudine Yip
Michelle-Marie Letelier, Am I Ancient or Human-Made Machine?, Photo courtesy of Or Gallery.
Am I Ancient or a Human-Made Machine?, The Or Gallery
Pamela Aracena Velazquez & Héloïse Auvray
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 © 2022 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 13, 2022. Published since 2009. Cover design by Akari Esaka, Illustrations by Zoe Lin.