I am pleased to present the long awaited fourth Issue of the Undergraduate Journal of Art History.The fourth Issue boasts the largest number of articles we have been able to publish so far. It is a sign of the expanding interest in the Journal and our mandate as well as the high quality of research produced at the undergraduate level at the University of British Columbia.
This year has been one of growth for the journal, with higher engagement of the student body and changing procedures to improve and expand our editorial production. The Editorial Board has worked hard to provide more opportunities for publication of excellent student work and research. I would like to thank members, Siwin Lo, Joanna Chaffin, Rachel Ozerkevich, Sarah Jane Fox, Helen Wong, Haley Cameron, Aubrey Emlyn, and Julie O’Connell for their hard work and dedication to this project.
I would also like to thank the authors of this Issue for their exceptional work and patience, as well as for their support of the Journal. Without them this none of this would be possible.
This issue’s international scope takes readers around the globe while focusing on the relationship between art and society. Laura Pfiester prefaces the journey with a discussion of cartographies in “’It’s Not Down on Any Map’: How Jeremy Wood’s Art Maps Challenge the Embedded Power Hierarchy of Cartography and the Fallacy of Precise Cartographic Tools”. By discussing two works by Jeremy Wood, Meredians and Data Cloud, she asks the reader to consider whether maps are a mirror of an imposition of knowledge upon our world. Next we are taken to China in Desiree Givens’ “China’s Social and Political Impact on Artist Zhang Dali.” In this paper she explores artist Zhang Dali’s work Dialogue and, with which Zhang has pitted the construction of the modern against the destruction of the traditional. Katia Fernandez Mayo brings our attention to Renaissances Venice in her paper “The Barozzi Oracula Leonis: The Reinterpretation of Byzantine Prophecy in a Venetian Renaissance Context.” Here, she explores the interest in the occult and prophecy in the Renaissance through an examination of the manuscript Oracula Leonis. Next, Verena Tan discusses Graffiti Art’s relation to politics in Hong Kong and Palestine in “Usurped and Contested Territories: Graffiti of Tsang Tsou Choi and the West Bank Separation Barrier.” In a comparison of art’s involvement in the two territorial disputes, she explores the different methods in which graffiti has been used in contestations over territory and sovereignty. We finish the Issue in Britain, with Marcus Jack’s discussion of Tate Modern in “Cathedral-Factory: Tate Modern and its Architectural Inception,” where he explores the museum’s relations with ideology and the viewer.
Editor In Chief, 2013-2014