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Art in Translation (AIT) aims to make available in English translation key texts on art history and visual culture

drawn from all periods and all cultures. Art in Translation was launched in February 2009 with generous funding from the Getty Foundation, Los Angeles. Initially published three times a year, Art in Translation will increase its frequency to four times a year, starting with volume 3.1 in 2011. Mission Statement AIT aims to make available the most interesting writing on the visual arts currently to be found across the world to a large, English-reading constituency. The readership is composed not only of native English speakers but also of the broad, worldwide public that has English as a working language. The texts, which already have been published in their source languages, are drawn from all areas of the visual arts (painting and drawing, sculpture, architecture, design, installation works, electronic media, art theory) and introduce the English-language readership to new worlds of scholarship and writing in the visual arts. The qualities they share in common are excellence and originality. The journal also includes a selection of key texts from earlier decades that have never before been available in English. The mission of AIT is to open, via the act of translation, new vistas into current scholarship and production in the visual arts worldwide. Meeting a Need AIT is grounded on the premise that the increasing domination of art history by the English language has had an isolating impact on research and writing produced in other languages. While English-language publications are read in many parts of the world, many foreignlanguage publications are largely inaccessible to native English speakers due to inadequate foreign language preparation, or the simple impossibility of achieving mastery in more than a small number of languages. It can take years, and even decades, for important books and articles to appear in translation, if at all. AIT publishes translations of critical essays and articles from foreign-language journals and catalogues ranging across all fields of art history. While not attempting encyclopedic coverage, it acts as a window onto the practice of art history and visual culture in the non-English speaking world. The journal itself and the collaborative effort involved in producing it will act as a significant catalyst in connecting scholars worldwide, in bringing important scholarship to broader attention, and in moving art history in challenging new directions. Published tri-annually, AIT combines scholarly acumen with a readability that appeals to a broad audience. It is intended not for a specialist working in a single field of enquiry, but for the broader audience that is looking for knowledge and insight on contemporary visual art scholarship and practice across the world.

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it would be both unwise and impossible to fix the thematic groupings before the texts have been identified and selected. Director of VARIE (Visual Arts Research Institute Edinburgh) and Professor of Architectural History. Claudia Heide. and writing into the English-speaking discourse on art history. The Board might also group articles thematically. oversee the selection and translation of the texts. however. We cannot rewrite history. selection. and can merely attempt within our own. Roles and Responsibilities There is a three-level editorial structure. or patronized. we would argue that in the colonial enterprise indigenous culture was at best ignored. however. 2 . Iain Boyd Whyte and Associate Editor. i. It is locating important work from throughout the world and bringing it to the centre. University of Edinburgh Associate Editor: Managing Editor: Additional clerical and secretarial assistance provided by the School of Arts. and the preparation of texts and illustrations for publication. In response. This grouping according to themes will be done retrospectively. translation and issue compilation functions will be carried out there. Editors The Editor. AIT will bring attention and repute to texts that are undeservedly unknown both to the audience of native English speakers and to the even larger audience that has English as a second or third language. Columbia University Dr. Scotland. Culture. Claudia Heide. with assistance from the Managing Editor. We have no illusions about the imperialist and colonialist histories that have led to the global pre-eminence currently enjoyed by English as the dominant language of commerce and scholarship. open to the charge of intellectual colonialism. University of Edinburgh Zoë Strother.A project of this nature is. of course. the securing of rights. and Environment in the University of Edinburgh. namely the English language. in order to produce themed issues of the journal. modest realm to work against the deleterious effects of these historical processes. Culture and Environment. Riggio Professor of African Art.e. Zoë Strother. Editorial Board An Editorial Board comprising the Editors and six members meet once a year (in April) at the University of Edinburgh to consider the submissions of the Advisors and to select articles for translation. The editorial offices of AIT are located in the School of Arts. All academic. Undeniably. University of Edinburgh. The centre in this case is not a political but a linguistic constellation. The AIT project is working in exactly the other direction. this hegemonic condition prevails. Editorial Structure Editor: Iain Boyd Whyte. after the texts have been accepted by the Editorial Board. As the principal aim of the project is to inject different ways of looking. and a worst destroyed. and provided without cost by the University. or marginalized. thinking.

each expert in one language/geographical grouping. Advisors will not be paid a fee. Poznan. USA Membership of this Advisory Committee is on a rotating basis. Université de Genève. Shibuya Shoto Museum. University of California. University of Edinburgh. Institute of Art History. Fine Arts Institute. School of Arts and Aesthetics. Universidad de Buenos Aires. University of California. Université de Provence. Duquesne University. Canada Zoë Strother. It will rarely meet as a group. 3 . UK Reina Lewis. but act as a virtual committee. Santa Barbara. Switzerland Alka Patel. Jawaharlal Nehru University. UK and Hofstra University. Current board members are: Tom Cummins. Carleton University. Phillips. UK Olivier Bonfait. Mimar Sinan Fine Arts University. Welter. Czech Republic Debbie Lewer. proposing articles for translation and inclusion in the journal. Academy of Sciences. Andrews. Japan Claudia Bolgia. University of Edinburgh. Recommendation process: Each advisor recommends a minimum of two articles per year. USA Mary Roberts. Université de Picardie Jules Verne. Adam Mickiewicz University. USA Gabriela Siracusano. UK Susanne Kuechler. Harvard University. Istanbul Vojtêch Lahoda. Leiden University. USA Volker M. University of Sydney. France David Craven. University of New Mexico. Japan Parul Dave Mukherji. Argentina Maria Elena Versari. University of St. University of Tokyo. Edinburgh College of Art. Adam Mickiewicz University. Barnard College. UK Advisory Committee The Editors and Editorial Board are advised by an Advisory Committee.Members of the Editorial Board are not paid a fee. UK Joseph Masheck. London Christina Lodder. but are reimbursed for travel and accommodation expenses. Switzerland Robert Hillenbrand. Current advisors: Akira Akiyama. USA Iain Boyd Whyte. Poland Zeynep Inankur. Andrews. Columbia University. University of Edinburgh. University of the Arts. University College London. Poland Ruth B. USA Jonathan Reynolds. France Hsueh-man Shen. UK Piotr Piotrowski. USA Yuri Mitsuda. Irvine. USA Dario Gamboni. UK Agata Jakubowska. Australia Philippe Sénéchal. USA Wilfried van Damme. University of St. University of Berne. University of Glasgow. New York. Netherlands Jeremy Howard. India Bernd Nicolai.

the Editorial Board reviews all recommendations and selects articles for translation. These short explicatory notes (150-350 words) are published under the advisor’s name at the head of each published text. the Advisors are asked to submit one copy (a photocopy or scanned version) of each recommended article. Valuable introductory texts. 12 February 2011 Translating Chinese Art: Translations. not necessarily focused on the source culture 3. New York. seminars and workshops: Art Writing: Translations. In addition.artintranslation. and an indication of the significance of the text and of any illustrative material. 23-24 April 2009 Translating Visual Culture Session at the 99th CAA conference. both within its own realm and to the broader field of visual studies.artintranslation. The journal was shortlisted for the Best New Journal award 2009. a synopsis of the argument. 28-29 October 2011 For details.ingentaconnect. Adaptations and Modalities Royal Society of Edinburgh. Groundbreaking within the field and context of their production 2.org (general information) www.com/content/berg/aitj (publication website. Highly representative of the source culture and methodology 4. Adaptations and Modalities Edinburgh. opening an initial path into areas of research and scholarship unfamiliar to the target readership. hosting AIT) AIT conferences. Websites: www. Classic texts within the source language. Texts that make a significant contribution to the global practice and understanding of art history and visual culture. the Advisors are asked to submit in English their comments on the nature and methodology of the text. Awards: Art in Translation has been awarded a Highly Commended Certificate by the Association of Learned and Professional Society Publishers. see www. The recommended texts will have at least one of the following qualities. They will be: 1.Using a standard recommendation form. 5. Following the initial recommendations by the expert Advisors.org Publications to date: 4 .

• • • • • • • Iain Boyd Whyte. number 2. Editorial Enrico Castelnuovo and Carlo Ginzburg. 40.Volume 1 Issue 1. pp. pp. 439-486) Angel Guido. translated by Jeremy Howard from Russian (‘Iskusstvo Negrov’ in Negro Art. ‘Under the sign of Life Building’. Frankfurt am Main. ‘Introduction to Hispano-Inca Architecture according to Wölfflin’. 129-139) Edgar Wind. Stichprobe: Die Porphyrgruppen von S. the Notion of Pathosformel and the Return to Life of Mortally Wounded Civilisations’. translated by Maylis Curie from French ('Domination symbolique et géographie artistique dans l'histoire de l'art italien'. 1912. vol. Leipzig: Dietrich’sche Verlagsbuchhandlung. la nocion de Pathosformel y la vuelta a la vida de civilizaciones heridas de muerte’. J. Summer 2009 The second issue focuses on the German tradition of art history. ‘The Absorption of the Expressive Values of the Past’. Berlin: Akademie Verlag.) Klio: Beiträg zur alten Geschichte. 1927. ‘Symbolic Domination and Artistic Geography in Italian Art History’. Venice. pp. St Petersburg. F.. February 1952) Josef Strzygowski. translated by Claudia Heide from Spanish (Arquitectura Hispanoincaica a través de Wölfflin. 1917. ‘Orient or Rome. 2. and republished by Dünne. ‘Reflections on the Painting of Alejandro Puente. Raumtheorie: Grundlagentexte aus Philosophie und Kulturwissenschaften. translated by Jonathan Blower from German (‘Kriegslandschaft’ in Zeitschrift für angewandte Psychologie. translated by Jonathan Reynolds from Japanese (Jômon doki ron’ in Mizue. Marks. translated by Fiona Elliott from German ('Zur Systematik der künstlerischen Probleme'. Die Kunstwelt. 1902) Nikolai Chuzhak. ‘Landscape of War’. Lehmann (ed. The Porphyry-Groups at St. eds. 2003) Horst Bredekamp. Rosario: Cruz del Sur. ‘Ancient and Recent African art’. 2006. translated by Iain Boyd Whyte from German (‘Der simulierte Benjamin: 5 . 13-27) Aby Warburg. ‘On the Systematics of Artistic Problems’. translated by Claudia Heide from German (‘Alte und junge Afrikanische Kunst’. translated by Hilary Macartney from Spanish (‘Reflexiones sobre la pintura de Alejandro Puente. translated by Iain Boyd Whyte from German (‘Orient oder Rom. 1923) Vladimir Markov. ‘Negro Art’. & Günzel S. 97-114) Kurt Lewin. as Test Case’. pp. 2006) Volume 1 Issue 2.1. no. 1925. no. November 1981) Okamoto Tarô. 12. Marco in Venedig’. translated by Christina Lodder from Russian (‘Pod znakom zhiznestroenia’ Lef. 1919) José Emilio Burucúa. C. March 2009 • • • • • • • Iain Boyd Whyte. translated by Matthew Rampley from German (1928. 2. vol. Historia y ambivalencia. republished in Mnemosyne Atlas. ‘The Simulated Benjamin: Medieval Remarks on its Actuality’. Actes de la recherche en sciences sociales. Ensayos sobre arte.. Editorial Leo Frobenius. Zeitschrift fur Aesthetik und allgemeine Kunstwissenschaft 18. ‘On Jômon Ceramics’.

ed. 15. 1968 pp. Prague. 2005. Qingquan. ou as Tendências Atuais'. The Collectivization of Accommodation in Bohemia 1905-1948’. Paris. Critique’ Clive Scott. Edinburgh. Volume 2 Issue 1. ‘Intermediality and Synaesthesia: Literary Translation as Centrifugal Practice' Ruth B. Andreas Berndt et al.191-5) Volume 2 Issue 2. Adaptation and Modalities’. Giuseppe Terragni. Le Langage des masques africains.Special Issue on Art and Translation (proceedings of conference ‘Art Writing: Translation.Mittelalterliche Bemerkungen zu seiner Aktualität’. ‘The Italian Hope: Rationalist Architecture’s Role and Reception in Germany’. 1989. 2003) Stefan Germer. 77-106 Mudiji Malamba Gilombe. Munich. Damián Bayón. ‘The Future of the Past or Contemporary Tendencies’. Moderne und Faschismus in Italien. Jorge Alberto Manrique. LIV). 'Dispel all Darkness”: Material Translations and Cross-Cultural Communication in Seventeenth-Century North America' Claudia Heide. Hubert. 'The Alhambra in Britain. translated by Marta Filipova from Czech (‘Diagenova rodina’. Zhongguo shi yanjiu. translated by Claudia Heide from German ('Zur Bedeutung der romanischen Apse'. translated by Jane Yeoman from French ('Essence du masque mbuya à travers et au-delà de sa fonctionnalité immédiate'. translated by Richard Williams from Portuguese ('O Futuro do Passado. 'Identity or Modernity?'. Phillips. vol. 1991) Guzik. ed. 'A Study of the Forms and Symbolic Functions of Phende “Mbuya”'. 1987) Li. no 2. Frankfurter Schule und Kunstgeschichte. • • • • Iain Boyd Whyte. 'Some Aspects of Time and Space as Seen in the Liao-dynasty Tombs in Xuanhua'. translated by Tatiana Flores from Spanish ('Identidad o Modernidad' in America Latina en sus artes. chapter 8). 1955.List of Articles The third issue of Art in Translation focuses specifically on Architecture and Architectural History. April 2009) • • • • • Peter France. translated by Nachiket Chanchani and Deven Patel from Gujarati and Sanskrit ('Svargarohana Prasada' in Svadhyaya. 1992) Volume 1 Issue 3. March 2010 • • • • • Günter Bandmann. Autumn 2009 . ‘Ekphrasis. Editorial Ruth Verde Zein. 'A Temple for Ascending to Heaven'. O Lugar da Crítica. pp. translated by Jonathan Blower from German (‘Die Italienische Hoffnung’. Between Foreignization and Domestication' 6 . ‘The Diogenes Family. Translation. July 2010 . Berlin: Reimer. 34 Supplement. Sompura and Madhusudan Dhaky. WallfraffRichartz Jahrbuch. São Paolo. 2006. 'On the meaning of the Romanesque apse'.. Umeni. Prabhashankar O. Feb. translated by Fei Deng from Chinese ('Xuanhua Liao dai bihuamu zhong de shijian yu kongjian wenti'. 28-55). ‘The Serva Padrona’ Lawrence Venuti. 5.

Notes on Artistic Modernity in the Southern Cone of Latin America: The Case of Paraguay’. 'Gandhi’s (In)fidelity: Some Reflections on Art Writing and Translation in Colonial India' Volume 2 Issue 3. 1936) Volume 3 Issue 1. El cubismo y sus entornos en las colecciones de la Fundación Telefónica.Investigation -Presentation. ‘Parallel Modernities. 1986/ 34. 1913-1914) Helmuth Plessner. 34. translated from German by Edward Neather (‘Einleitung’. 2004) Edinburgh. ‘Rebirth of form in the technical age’. translated by Hilary Macartney from Spanish (‘Modernidades Paralelas.• • Vojtech Lahoda. Bd. Politik --Anthropologie -. 2008) Ticio Escobar. edited by Salvatore Giammusso & Hans-Ulrich Lessing (Munich: Fink. Umení. 2001) František Šmejkal. January 2011. translated from German by Jonathan Blower (‘Wiedergeburt der Form im technischen Zeitalter (1932)’. Jahrbuch der Berliner Museen. 1992) Sarabhai Manilal Nawab. Cubismo y Arte Nuevo. ‘Towards Spiritual Essence of the Modern Age’. November 2010 • • Volkmar Enderlein and Michael Meinecke. Latin American Itineraries’. Worpswede. ‘Cosmopolitanism. ‘The Art of Gujarat Patronized by the Jains and its History’. Cubism and New Art. translated from Spanish by Antonio Bautista (‘Cosmopolitismo. translated by Babu Suthar and Nachiket Chanchani from Gujarati and Sanskrit (Jaina Citrakalpadruma. February 2011 This issue focuses on the first third of the 20th century: • • • • • • Rainer Maria Rilke. Notas sobre la modernidad artística en el cono sur: el caso paraguayo. 6) Diana Beatriz Wechsler. Forschen. Präsentieren. ‘Kurt Schwitters and Prague’. translated by Marta Filipova from Czech (originally published in Ceská kultura2. 1903) Bohumil Kubišta. 'Cubism Translated? Western Canon of Modernism and Central/Eastern European Art History' Nachiket Chanchani. translated by Marta Filipova from Czech (‘Kurt Schwitters a Praha’. ‘Excavation -. translated from German by Jonathan Blower (‘Graben. No. Problems of Representing Past Cultures in the Example of the Mshatta Façade’. ‘Concerning Landscape Painting’. El arte fuera de sí. Itinerarios Latinoamericanos’. Probleme der Darstellung vergangener Kulturen am Beispiel der Mschatta-Fassade’.Philosophie: Aufsätze und Vorträge. 7 .