Zoya Mirzaghitova. With this issue, the Undergraduate Journal of Art History celebrates its 5th anniversary! This milestone comes at a moment of turbulent change for the Journal, and marks a turning point in its short history. I would like to begin by looking back and thanking all those who helped make this happen.

Emily Perkins. To be "in the erotic" is essentially to be alive as it constitutes the enactment of an integral facet of one's human identity. However, Canada's First Peoples have been excluded from representations of healthy sexuality. As such, the creation of erotic renderings of Indigenous people has become an act of resistance against the impose sociocultural systems.

Rhys Edwards. The work of contemporary Scottish Andrew Grassie provokes re-evaluation of painting's potential as a critical medium. His highly detailed, minutely realized paintings depict interstitial moments and spaces within the contemporary art environment: installations being set up, lecture halls, vacant business offices, and works in storage, among other subjects.

Giulia De Vita. The choreographer described above by Senta Driver is William Forsythe, an American-born contemporary choreographer known for his critically acclaimed work with several ballet companies, largely in Europe. 

Rachel Ozerkevich. In his 1989 essay "Virgin on the Street Corner," Edward Muir argues that during the Italian Renaissance, Christian sacred spaces situated throughout the city streets provided a means for collective citizenship through shared religious participation. 

Arianna Mao. Eileen Gray's E.1027 occupies an exceptional position within the modern architectural canon as one the rare buildings that was praised for its characteristically feminine qualities. Because of this particular position, E.1027 both enlarges the discourse surrounding modernist architecture and the position of women within it.

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. 

Desiree Givens. Shortly after the Tiananmen Square incident of 1989, China underwent a massive urban transformation. Particularly in Beijing, modern skyscrapers began to replace traditional buildings that had for so long been symbolic of Chinese heritage. 

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. 

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.

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.

Daniel Ralston. It is an honour to set down a few words of introduction to the third issue of the University of British Columbia's Undergraduate Journal of Art History. 

Amanda Hardy. In September 2011, Symantec, a manufacturer of anti-virus and anti-spyware programs,as well as other Internet security products for the home, released a television commercial entitled “Stuff.” It illustrated the growing connection with intangible “stuff’’ in our own personal digital archives, on our devices, and on the web.

Corey Ratch. Richard Hamilton’s Fashion-Plate (1969–1970) appears to the viewer, in a sense, as an ideal beauty. However, this form is constructed of fragmented parts. Paradoxically, it is both whole and fragmented.

Gawon Go. While theory and practice coexist in almost all artist production, drawing is especially dependent on this concurrence. Drawing is, in fact, an indiscernible superimposition of techne and episteme, and cannot exist without both. 

Jessica Mach. In November of 2003, in a studio at what was then the Emily Carr Institute of Art and Design, Vancouver-based artist Rebecca Belmore performed before a video camera. 

Daniel Ralston. We are proud to introduce the second issue of the University of British Columbia's Undergraduate Journal of Art History. The essays you will read are the result of a lengthy process of critical evaluation and intellectual exchange. 

Britt Gallpen. Unravelling the intertwined, subtle, and otherwise submerged narratives of Lyle Wilson’ A4444 is no easy undertaking; its various meanings cannot be definitively prescribed.

Rachael Lew. This article examines a remarkably well-preserved moving panorama produced in 1850 by John Egan, a relative unknown, and commissioned by Dr. Montroville Wilson Dickeson, an archaeologist.

Joanna McDonald. The camera, with its unique ability to freeze time and make visible what would otherwise be private or restricted, has been an elemental tool in the development of an increasingly voyeuristic society.

Rachel Roth. Children’s print culture burgeoned in the eighteenth century as Enlightenment ideas and the previous century's changing philosophies of childhood and children's education—primarily those of John Locke—became more widespread.

Alexandra Turnbull. It is with great pleasure that I introduce the inaugural issue of the UBC Undergraduate Journal of Art History. The words, the ideas, and the images that constitute this issue are the result of many hours, many individuals, and perhaps most importantly, much encouragement. 

Catherine Falls. Installed throughout the grounds of two major Vancouver institutions, Hachivi Edgar Heap of Birds’s Native Hosts subverts common ideological beliefs regarding land ownership within British Columbia. 

Perrin Grauer. This essay pursues the theoretical significance of the ways in which early modern painterly practice differed from its art-historical precedent. 

Jordan Lypkie. This essay charts the complexity of two recent public artworks by Stan Douglas and Ken Lum, installed in Vancouver on the occasion of the 2010 Olympic Winter Games, through their formal engagement with the local discourse of art and their inversion and subversion of images and forms of representation. 

Sophia Zweifel. The following essay places renewed focus on the art of Los Angeles artist Wallace Berman and his contemporary bohemian circle, made up of artists and beatniks.