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
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.
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.
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.
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
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
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.
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.
Kelly Holmes: Infinite Subjectivities//Finite Expressions
by Nathan Clark
(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.
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.