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Past Issues

Filtering by Category: Issue 4

Issue 4 2013 Foreward

UJAH

Zoya Mirzaghitova.  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.

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Issue 4: “It’s Not Down on Any Map”

UJAH

Laura Pfiester. Are maps a mirror or an imposition of knowledge upon our world and how does the method of their production mask their ontogenesis? This paper will explore how the production and sharing platforms of Jeremy Wood’s art cartographies affect the narratives of power within maps and challenge the discourse of cartographic authority. 

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Issue 4: The Barozzi Oracula Leonis

UJAH

Katia Fernandez Mayo. Towards the end of sixteenth-century Venice, widespread ideas on spirituality, prophecy, and mystery remained inherently popular among Renaissance societies. The wide distribution of prophetic texts, aided with the invention of print, resulted in a rising interest to create elaborate illuminated manuscripts that re-contextualised Byzantine contents into a current Venetian Renaissance setting. 

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Issue 4: Usurped and Contested Territories

UJAH

Verena Tan. Graffiti on public walls has been used across cultures and time periods to voice public dissidence, protest and opinions about social and political issues. These messages reflect local political unrest and can signify unity or conflict within a people. In Hong Kong, Tsang Tsou Choi graffitied “King of Kowloon” in his claim to the land before colonization.

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Issue 4: Cathedral-Factory

UJAH

Marcus Jack. The museum space is never an arbitrary composite of galleries and corridors. Museum architecture is bound to an eternal discourse with the ideologies which perpetuate inside. These ideologies are breathed in the physicality of the building, a space dedicated to the embodied viewer who maneuvers, exploring every crevice and chasm.

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