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Issue 9 Cover crop.png

Issue 9

masthead

 

Editor in Chief: Mary Buckland | Managing Editor: Hailey Mah

Graphic Designer: Rosanna Chung | Photographer: Arsebel Gancena

Editors: Ella Adkins, Fiorela Argueta, Raina Cameron, Grace Chang, Nathan Clarke, Marta Gorgopa, Mitra Kazemi, Sydney Marshall, Marcus Prasad, Alexandra Trim. 

Contributors: Ella Adkins, Simranpreet Anand, Fiorela Argueta, Matthew Ballantyne, Leo Cocar, Maxim Greer, Kelly Holmes, Mitra Kazemi, Ketty Zhang, Ran Zhou. 

Download the full journal


Articles

 
  Marianne Nicolson, Oh, How I Long for Home, installation view at Teck Gallery, 2016. Photo: Blaine Campbell http://www.sfu.ca/galleries/teck-gallery/Marianne-NicholsonOhHowILongForHome.html

Marianne Nicolson, Oh, How I Long for Home, installation view at Teck Gallery, 2016. Photo: Blaine Campbell http://www.sfu.ca/galleries/teck-gallery/Marianne-NicholsonOhHowILongForHome.html

 

Neon and On: Marianne Nicolson’s Oh, How I Long for Home through the Method of Walter Benjamin’s Arcades Project

by Simranpreet Anand


 
  Lawrence Paul Yuxweluptun, The Impending Nisga’a Deal. Last Stand. Chump Change, 1996. Image provided by Yuxweluptun.

Lawrence Paul Yuxweluptun, The Impending Nisga’a Deal. Last Stand. Chump Change, 1996. Image provided by Yuxweluptun.

 

Epistemological Tensions: Indigenous Cultural Production in the Age of Delgamuukw

by Leo Cocar


 
  Julian Eltinge. Billy Rose Theatre Division, The New York Public Library for the Performing Arts, Astor, Lenox and Tilden Foundation.

Julian Eltinge. Billy Rose Theatre Division, The New York Public Library for the Performing Arts, Astor, Lenox and Tilden Foundation.

 

From the Street to the Stage: Julian Eltinge, Vaudeville Female Impersonation, and the Emergence of a Queer Subculture

by Maxim Greer


 

reviews

 
  Performance documentation of  Endings . Image provided by Saulwick. Photo: Sarah Walker.

Performance documentation of Endings. Image provided by Saulwick. Photo: Sarah Walker.

 

A Death in the Life: The Technological Exploration of The Ending of Things

by Ella Adkins


 
  Alexandra Bischoff,  Rereading Room: The Vancouver Women’s Bookstore (1973–96) , 2016–18, texts chosen from the 1973 Vancouver Women’s Bookstore catalogue. Installation view, Beginning with the Seventies: GLUT at the Morris and Helen Belkin Art Gallery, January 12–April 8, 2018. Photo: Michael R. Barrick

Alexandra Bischoff, Rereading Room: The Vancouver Women’s Bookstore (1973–96), 2016–18, texts chosen from the 1973 Vancouver Women’s Bookstore catalogue. Installation view, Beginning with the Seventies: GLUT at the Morris and Helen Belkin Art Gallery, January 12–April 8, 2018. Photo: Michael R. Barrick

 

Today, in the Seventies: Art, Activism, and Feminism in GLUT

by Fiorela Argueta


 
  Installation view of   Takashi Murakami: The Octopus Eats Its Own Leg  , exhibition at the Vancouver Art Gallery, February 3 to May 6, 2018, with  Chakras Open and I Drown Under the Waterfall of Life , 2017, in the rotunda, © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved, Photo: Rachel Topham, Vancouver Art Gallery

Installation view of Takashi Murakami: The Octopus Eats Its Own Leg, exhibition at the Vancouver Art Gallery, February 3 to May 6, 2018, with Chakras Open and I Drown Under the Waterfall of Life, 2017, in the rotunda, © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved, Photo: Rachel Topham, Vancouver Art Gallery

 

Hybridity en Masse: Takashi Murakami at the Vancouver Art Gallery

by Mitra Kazemi


 

ARTIST PROFILES

 
 One for Sorrow , shovel, magpie, 2017. Image provided by Ballantyne.

One for Sorrow, shovel, magpie, 2017. Image provided by Ballantyne.

 

Matthew Ballantyne: Subversive Subjectivities: Intersecting Reference and Experience

by Marcus Prasad


 
 My Mother’s Hands , inkjet print, documentation of a soap sculpture, 2017. Image provided by Holmes.

My Mother’s Hands, inkjet print, documentation of a soap sculpture, 2017. Image provided by Holmes.

 

Kelly Holmes: Infinite Subjectivities//Finite Expressions

by Nathan Clark


 
 (True) Colours , inkjet prints, 2017. Images provided by Zhang.

(True) Colours, inkjet prints, 2017. Images provided by Zhang.

 

Vestiges of Transnational Belonging: Marking the Millennial Diasporic Identity in Ketty Zhang’s Works

by Alexandra Trim


 
 Beijing Tourist Map,  fabric installation,  The Map  series, 2017. Photographed by Arsebel Gancena.

Beijing Tourist Map, fabric installation, The Map series, 2017. Photographed by Arsebel Gancena.

 

Ran Zhou: History in the Present Tense

Raina Cameron


 

The Undergraduate Journal of Art History & Visual Culture (UJAH) is a free student journal published by the Department of Art History, Visual Art & Theory at the University of British Columbia. All material is copyright © 2018 UJAH, authors.

UJAH gratefully acknowledges the financial support of the Social Justice Centre and the Alma Mater Society at the University of British Columbia, as well as the editorial and financial support of the Department of Art History, Visual Art & Theory at the University of British Columbia.

We acknowledge that the UBC Point Grey campus, where we live, work, and play, is situated on the traditional, ancestral, and unceded territory of the Musqueam people.