Any views expressed within media held on this service are those of the contributors, should not be taken as approved or endorsed by the University, and do not necessarily reflect the views of the University in respect of any particular issue.
Skip to content


All issues of Art in Translation are available at Taylor & Francis Online

Volume 15, Issue 3, 2023. Latin American Art. Migration and Reception

  • Abdias do Nascimento, “Culture and Aesthetics at the Museum of Black Art,” translated from Portuguese by Alban Mills and Rosane Carneiro Ramos. Originally published as “Cultura e estética no Museu de Arte Negra,” in Revista Galeria de Arte Moderna, 14 (Rio de Janeiro, 1968).
  • Abdias do Nascimento, "On the Museum of Black Art," translated from Portuguese by Alban Mills and Rosane Carneiro Ramos. Originally published as "Abdias Nascimento fala do Museu de Arte Negra," in Revista Galeria de Arte Moderna, 15 (Rio de Janeiro, 1968).
  • Clarival do Prado Valladares, “Afro-Brazilians and Visual Arts,” translated from Portuguese by Alban Mills and Rosane Carneiro Ramos. Originally published as “O Negro Brasileiro nas Artes Plásticas,” in Cadernos Brasileiros (Rio de Janeiro, 1968).
  • Mariano Carneiro da Cunha, “Afro-Brazilian Art,” translated from Portuguese by Andrew McDougall. Originally published as “Arte afro-brasileira,” in História Geral da Arte no Brasil (2) ed. W. Zanini (São Paulo, Instituto Waler Moreira Salles, 1983).
  • Alessandra Simões Paiva, “ESCALA Collection: A British Collection and its Connections with the Internationalization of Latin American Art”

Volume 15, Issue 2, 2023. Varia issue

  • Iain Boyd Whyte, Editorial
  • Anna di Majo, Carlo Federici & Marco Palma, "The Parchment of High Medieval Italian Codices: A Survey of the Animal Species Used," translated from Italian by Lucinda Byatt. Originally published as “La pergamena dei codici altomedievali italiani.Indagine sulle specie animali uti-lizzate,” Scriptorium 39.1 (1985): 3–12.
  • Edilberto Hernández González, "Configuration of Subjectivities in Contemporaneity: Performance Writing about the Production of the Spanish-Mexican Artist Remedios Varo," Translated from Spanish by Andreea Dumitrascu. Originally published as “Configuración de Subjetividades en la Contemporaneidad. Performance Escritural en Conversación con la Producción de la Artista Hispano-Mexicana Remedios Varo,” in Barcelona Research Art Creation (BRAC) 5.1 (2017): 76–91.
  • Nadezhda Pivovarova, "The Miracle-Worker Blessed Simon of Yuryevets: Tradition of Veneration and Iconography," translated from Russian by Justin Willson. Originally published as “Blazhennyi Simon Iur'evetskii chudotvorets: traditsiia pochitaniia i ikonografiia,” in Russkaia agiografiia: issledovaniia, materialy, publikatsii, ed. T. R. Rudi and S. A. Semiachko (St. Petersburg: Pushkinskii Dom, 2017), 337–44.
  • Anne-Grit Becker, "Letters of Transition: The “Mediterranean Effect” in Some of Cy Twombly’s Works," translated from German by Jacob Watson. Originally published as “Briefe, Gedichte und zwei Collagen. Twombly und der ‘mediterrane Effekt’,” in Cy Twombly und Robert Rauschenberg. Bilder im Prozess (Munich: edition metzel, 2020),152–177.

Volume 15, Issue 1, 2023. Constructing and Reconstructing History in Twentieth-Century German Architecture
Guest edited by Alexander Luckmann and Volker M. Welter, with Iain Boyd Whyte, Editor (University of Edinburgh)

      • Alexander Luckmann & Volker M. Welter, Introduction
      • Hermann Muthesius, "The 'Restoration’ of Our Old Buildings [1904]," translated from German by Alexander Luckmann. Originally published as “Die‘Wiederherstellung’unserer alten Bauten,” in Hermann Muthesius, Kunst und Kultur (Jena and Leipzig: Eugen Diederichs, 1904), 117–155.
      • Rudolf Borchardt, "Villa," translated from German by Jonathan Blower. Originally published in a shortened version as “Villa” in FrankfurterZeitung, vol. 51, nos. 46 and 47, 15 and 16 February, 1907, morning editions, pp. 1–3.
      • Theo Lechner, "The Architecture Exhibition in Munich 1926," translated from German by Iain Boyd Whyte. Originally published as “DieBaukunstaustellung München 1926,” in Wasmuths Monatshefte fürBaukunst und Städtebau, 11, no. 2(1927): 65–7.
      • Paul Schmitthenner, "Tradition and New Building," translated from German by Richard George Elliott. Originally published as “Tradition und Neues Bauen,” in DeutscheKulturwacht, 2, no. 17 (July 29,1933): 11–12.
      • Alfons Leitl, "Northern and Southern Germany: Notes on the Works of the Architect Emil Egermann, Berlin," translated from German by Iain Boyd Whyte. Originally published as “Norddeutschland und Süddeutschland: Bemerkungen zuden Arbeiten des Architekten Emil Egermann, Berlin,” in Bauwelt, 25, no.49 (6 December 1934):1–3.
      • Adolf Hitler, "The Buildings ofthe Third Reich," translated from German by Iain Boyd Whyte. Originally published as “Die Bautendes Dritten Reiches. (Auszug aus derKulturrede des Führers auf dem Reichsparteitag 1937),” Baugilde, 19, no. 26 (15 September 1937): 877–878. Republished in and translated from Anna Teut, Architektur im Dritten Reich 1933-1945 (Berlin: Ullstein,1967), 188–190.
      • Gerdy Troost, "Architecture in the New Reich," translated from German by Richard George Elliott. Originally published as Das Bauen im Neuen Reich (Bayreuth: Gauverlag Bayerische Ostmark, 1938), 5, 116–18, 126–27, 134–38.
      • Fritz Todt, "The Motor Highways built by Herr Hitler: The Planning, Construction and Importance of the Reich Motor Roads," Originally published in Germany Speaks by 21 Leaders of Party and State, ed. Anon, trans. Anon (London: Thornton Butterworth, 1938), 255-56,259-60, 272-74 (excerpts).
      • Otto Bartning, "Heretical Thoughts at the Edge of the Rubble Heaps," translated from German by Iain Boyd Whyte. Originally published as “Ketzerische Gedanken am Rande der Trümmerhaufen,” in Frankfurter Hefte,1 (1 April 1946): 63–72.
      • Otto Bartning et al., "An Appeal: Fundamental Demands," translated from German by Iain Boyd Whyte. Originally published as “Ein Aufruf: grundsätzliche Forderungen,” in Baukunstund Werkform,1 (1947): 29.
      • Walter Ulbricht, "Art and Science on Track," translated from German by Richard George Elliott. Originally published as “Kunst und Wissenschaft im Plan,” Aufbau, 7 (1951): 1071–1076.
      • Walter Gropius, "Architecture in the Age of Science," translated from German by Iain Boyd Whyte. Originally published as “Architektur im Zeitalter der Wissenschaft,” in Der Monat, 4, no. 39 (December 1951): 314–8. Excerpts from pp. 314, 316–17, 318.
      • Wolf Jobst Siedler, Elisabeth Niggemeyer and Gina Angreß, "Requiem for Putti," translated from German by Iain Boyd Whyte. Originally published as a chapter in Die gemordete Stadt: Abgesang auf Putte und Straße, Platz und Baum [The Murdered City: A Farewell to Putti, Streets, Squares, and Trees”] (Munich & Berlin: F. A. Herbig Verlagsbuchhandlung 1964 and1978), 13–14.
      • Dieter Hoffmann-Axthelm, "The Case for Abolishing Historic Building Preservation," translated from German by Richard George Elliott. Originally published as “Plädoyer fürdie Abschaffung der Denkmalpflege,” in ARCHþ: Zeitschrift für Architekturund Urbanismus, issue 54 (1980): 44–50.
      • Julius Posener, "Architectural Monuments," translated from German by Richard George Elliott. Originally published as “Baudenkmäler” in Julius Posener, Was Architektur sein kann: NeuereAufsätze (Basel: Birkhäuser Verlag,1995), 209–12.

Volume 14, Issue 4, 2022. Special issue: Postmodern Polemics in Contemporary Korean Art

      • Jung-Ah Woo, Introduction, "Who’s Afraid of Postmodernism? Postmodern Polemics in Contemporary Korean Art"
      • Jeong Jeong-ho & Kang Naehui, "Introduction: Theory of Postmodernism," translated from Korean by Namin Kim. Originally published as “Poseuteumodeonijeumnon seomun” in Poseuteumodeonijeumnon (Seoul: Teo, 1990), 13-27.
      • Shim Kwang-Hyun, "A Neutral Ideology of De-Modernists," translated from Korean by Namin Kim. Originally published as “Talmodeonjuuijaui jungseongjeongideollogi” in Wolganmisool (November1989): 59–62.
      • Lee Jae-eon, "De-Modernization and the Search in the Transition Period," translated from Korean by Namin Kim. Originally published as “Talmodeongwa jeonhwangijeongmosaek” in Misul Segae (July 1989): 67-74.
      • Jin Seop Yun, "The Absence of ‘Truth’ and Solving the Maze: One Perspective on Postmodernism in Korea," translated from Korean by Jeong-YonHa and Jieho Choi. Originally published as “‘眞理’의부재와미로찾기:한국의포스트모더니즘을바라보는하나의시각,” in Misulpyongdan: Korean Art Critics Review 19 (1990), 7-12.
      • Sung Wan-kyung, Jeong Ji-chang and Shim Kwang-Hyun, "Round Table Discussion: Third World Art’s Reception and Mission," translated from Korean by Namin Kim. Originally published as “Jesamsegyemisurui suyonggwa gwaje,” in GanaArt (July/August 1990): 30-45.
      • Mo Bahc, "The Meaning of Postmodernism and Korean Art," translated from Korean by Jeong-YonHa and Jieho Choi. Originally published as“포스트모더니즘의의미와한국미술,” in Cultural Change and the Response of Art Criticism (Seoul: Research Society for Art Criticism,1993), 145-173.

Volume 14, Issue 3, 2022. Varia issue

      • Mira Xenia Schwerda, Editorial
      • Chinyere Ndubuisi, "The Oye-Ekiti Christian Art Workshop and the Fusion of the European Catholic Tradition and Nigerian Indigenous Art in Three Lagos Churches"
      • Christiane Hille, "Max Ernst Loehr (1903–88): Principles of a Chinese Art History in Munich," translated from German by Richard George Elliott. Originally published as “Max Ernst Loehr (1903–1988): Grundbegriffe einer chinesischen Kunstgeschichte in München,” ZI-Kunstchronik 71.4 (April 2018): 195–204.
      • Yazan Alloujami, "The Intericonic Objects of Mona Hatoum: Our Modernity that Remains"
      • Esra Yıldız, "Turkey’s Participation in International Biennials in the 1950s," translated from Turkish by Yasemin Gencer. Originally published as “Türkiye’nin Uluslararası Bienallere 1950’li Yıllardaki Katılımı,” in Art-Sanat (2021): 575–616, 16.
      • Tan Zi Hao, "The Chimeric Trace: The Makara and Other Connections to Come"

Volume 14, Issue 2, 2022, Special issue: Pop Art. Imitation, Translation, Transcreation
Guest editors Claudia Hopkins and Stefana Djokic (University of Edinburgh)

      • Claudia Hopkins and Stefana Djokic, "Editorial: Pop Art. Imitation, Translation, Transcreation"
      • Julia Tatiana Bailey, "Moscow Conceptualism and the (Mis)Translation of American Art"
      • Stefana Djokic, "Yugoslav Perceptions and Translations of Pop Art during the 1960s"
      • Silvia Bottinelli, "Open Spaces and Consumerist Excess. On Marisa Volpi’s book Arte dopo il 1945. U.S.A."
      • Marisa Volpi Orlandini, "Introduction to Art after 1945, USA," translated from Italian by Lucinda Byatt. Originally published as “Introduzione,” in Arte dopo il 1945, U.S.A. (Rocca San Casciano: Cappelli, 1969), 6–13.
      • Marisa Volpi Orlandini, "Pop Art," translated from Italian by Lucinda Byatt. Originally published as “La Pop Art,” in Arte dopo il 1945, U.S.A. (Rocca San Casciano: Cappelli, 1969), 68-86.
      • Javier Ortiz-Echagüe, "Mission Impossible: Guernica. The Battle for the Interpretation of Picasso’s Work during the Cold War," translated from Spanish by Isabel Adey. The paper was first presented at the 108th CAA Annual Conference, Chicago, 12–15 February 2020.

Volume 14, Issue 1, 2022, Special issue: Afro-Brazilian Art
Guest editors Roberto Conduru (Southern Methodist University) and Juliana Ribeiro da Silva Bevilacqua (Queen's University, Kingston)

      • Roberto Conduru, "Introduction: The Belated Pioneering Criticism of Afro-Brazilian Art"
      • Manuel Querino, "The African Race and its Customs in Bahia," translated from Portuguese by Elton Uliana. Originally published as “A raça africana e os seus costumes na Bahia,” in Anais do congresso Brasileiro de Geografia (Salvador: SGRJ, 1916).
      • Mário Barata, “Black Art,” translated from Portuguese by Elton Uliana. Originally published as “Arte negra,” in Revista da semana, 20 (1941): 16–17, 34.
      • Odorico Tavares, "The Afro-Brazilian Sculpture in Bahia," translated from Portuguese by Elton Uliana. Originally published as “A escultura Afro-Brasileira na Bahia,” in O Cruzeiro (April 14, 1951): 59–62, 64.
      • Mário Barata, "The Sculpture of Black Origin in Brazil," translated from Portuguese by Elton Uliana. Originally published as “A escultura de origem negra no Brasil,” in Brasil arquitetura contemporânea 9 (1957): 51–6.

Volume 13, Issue 4, 2021, Special issue: Parchment, Parchemin, Pergament: 18th-, 19th-, and 20th-Century Authors on the History and Manufacture of Parchment
Guest editor Caroline Danforth (National Gallery of Art, Washington, DC, USA)

      • Caroline Danforth, Introduction: "Parchment, Parchemin, Pergament: 18th-, 19th-, and 20th-Century Authors on the History and Manufacture of Parchment"
      • Jérôme de La Lande, The Art of Making Parchment, translated from French by Gay McAuley. Originally published as Art de faire le parchemin, (Paris: Desaint et Sailant, 1762), 1-52.
      • Wilhelm Wattenbach, "Parchment," translated from German by Caroline Danforth. Greek and Latin passages translated by Andrew Griebeler. Originally published as "Pergament," in Das Schriftwesen im Mittelalter (Leipzig: Verlag Von S. Hirzel, 1896), 113-39.
      • Zeger Hendrik de Groot, "The Manufacture of Goldbeater’s Skin, Transparent Parchment, and Split Parchment," translated from German by Caroline Danforth. Originally published as "Die Herstellung von Goldschlägerhaut, transparentem und gespaltenem Pergament," in Peter Rück (ed.), Pergament, Geschichte, Struktur, Restaurierung, Herstellung (Sigmaringen: Jan Thorbecke, 1991), 373-80.
      • Gerhard Moog, "Skins and Hides for Making Parchment: An Overview of Parchment’s Histologic Features that are Helpful when Identifying Raw Source Material," translated from German by Caroline Danforth. Originally published as “Häute und Felle zur Pergamentherstellung: Eine Betrachtung histologischer Merkmale als Hilfe bei der Zuordnung von Pergamenten zum Ausgangsmaterial,” in Peter Rück (ed.), Pergament, Geschichte, Struktur, Restaurierung, Herstellung (Sigmaringen: Jan Thorbecke, 1991), 171-81.

Volume 13, Issues 1-3, 2021, Special issue: Ottoman Architecture
Guest editors Mary Roberts (University of Sydney) and Samuel Williams (Max Planck Institute, Halle)

      • Mary Roberts and Samuel Williams, “Introduction: A Monumental Book: Ottoman Architecture at the 1873 Vienna World’s Fair”
      • Victor Marie de Launay and others, Ottoman Architecture (Constantinople, 1873), translated from the French by Gay McAuley

Volume 12 Issue 4, 2020. Special issue: Modern and Contemporary Korean Art: Continuity and Transformation
Guest editors Young Ji Lee (Duke University) and Suzie Kim (University of Mary Washington)

      • Young Ji Lee, Suzie Kim, Introduction, "The Individual as a Site of Modernity and the Transnational Webs of Modern Art"
      • Jiyeon Kim, "Constructing the Communal Identity: Changing Self-Images in Ko Hŭi-dong’s Paintings"
      • Jinyoung Jin, "Lee Qoede: Massacres in 1948 and the Influence of Diego Rivera"
      • Suzie Kim, "Abstraction Meets Korean Lyricism: Yoo Youngkuk’s Mountain Series in Postwar Korea"
      • Jungsil Jenny Lee, "Excavating the Mural of Paradise by Lee Jung-Seob"
      • Young Ji Lee, "Building North Korean Art: Pen Varlen/Pyŏn Wŏllyong and Ethnic Networks amid the Cold War"
      • Sunglim Kim, "The Aesthetic Journey of Seundja Rhee: From Earth to Cosmos"

Volume 12 Issue 3, 2020. Hot Art, Cold War

      • Iain Boyd Whyte, Editorial
      • Françoise Choay, “Dada, Neo-Dada, and Rauschenberg,” translated from French by Richard Elliott. Originally published as “Dada, neo-dada et Rauschenberg,” in Art International (20 October 1961): 82-84, 88.
      • Maurizio Calvesi, “Recognition and Reportage,” translated from Italian by Madeline Robinson. Originally published as “Ricognizione e Reportage,” in Collage 1 (1963): 65-75, excerpts.
      • Tommaso Trini, “Imagination conquers the Earth,” translated by Lucinda Byatt from Italian. Originally published as “L’imaginazione conquista il terrestre,” in Domus, Vol. 471 (1969): 43-51.
      • Simón Marchán Fiz, “From Object Art to Concept Art (1960–1974): Epilogue on the ‘postmodern’ sensibility. Anthology of essays and manifestos,” translated from Spanish by Isabel Adey. Originally published as “Del arte objetual al arte de concepto (1960–1974): Epílogo sobre la sensibilidad «posmoderna». Antología de escritos y manifiestos,” in Del arte objetual al arte concepto (Madrid: Alberto Corazón, 1974), 249-271.
      • Iulian Mereuţă, “The American Poster,” translated from Romanian by Jozefina Komparaly. Originally published as “Afişul American,” in Arta no 4-5 (1975): 41-42.
      • Christian Bonnefoi, "On the destruction of the surface entity," translated from French by Susan de Muth. Originally published as “A propos de la destruction de l’entité de surface”, in Macula, 1978 : 163-166.
      • Amelia Pavel, “The American Artist at Work: Romanian-American Colloquium on Art Criticism,” translated from Romanian by Jozefina Komporaly. Originally published as “Artistul american la lucru: Colocviu româno-american de critică de artă,” in Arta (1979): 31.
      • Klaus Wilczynski, “North American Families in the Guise of Columbus ‘The Splendor of Dresden’ and the citizens of San Francisco,” translated from German by Richard George Elliot. Originally published as “Familien in Nordamerika als Kolumbus. ‘Dresdens Pracht’ und San Franziskos Bürger,” in Berliner Zeitung, No. 109, 1979, 9.
      • Petr Rezek, “Body Art: Paradigms of Transformation in Contemporary Art,” translated from Czech by Eva Spišiaková. Originally published as “Body art: Paradigma proměn v současném umění,” in Tělo, věc a skutečnost v současném umění, 1982: 49-79.
      • Anna Tilroe, “The Staged Illusion,” translated from Dutch by Jan De Meyer. Originally published as: “De geënsceneerde illusive,” in Haagse Post, February 12, 1983.
      • Tatyana Yureva, "Pop art and Anglo-American Art Criticism: Against Bourgeois Propaganda in the Sphere of Art," translated by Christina Lodder. Originally published as “Поп-арт и англо-американская художественная критика,” in Искусство no 6 (1985): 43-46.
      • Jérôme Sans, “Julian Schnabel: The Myth Unfurls,” translated from French by Susan de Muth. Originally published as “Julian Schnabel: Le Mythe déferle,” in Beaux-Arts, no 43 (1987): 55-59.

Volume 12, Issue 2, 2020. Special issue: Postcoloniality and Franco's Spain
Guest editor María Iñigo Clavo (Open University, Barcelona) with Claudia Hopkins (University of Edinburgh)

      • Maria Iñigo Clavo, Editorial: "Francoist Spain and Questions of Otherness"
      • Esther Gabara, “The Bermuda Triangle of Madrid’s Museums: the Prado, the Museum of the Americas and the National Museum of Anthropology,” translated from Spanish by Isabel Adey.
      • Jorge Luis Marzo, “Tradition and Collaboration between the Avant-garde and Francoism (1940 to 1960), translated from Spanish by Isabel Adey.
      • Alicia Fuentes Vega, “As if out of a Goya Painting. Experiencing the past in Francoist Spain”
      • Rafael Sánchez Mateos Paniagua, “The museum for those who do not go to museums. A Cultural Exploration of the Almanac of the Unión Española de Explosivos [Spanish Explosives Union] in the Years of the Franco regime”
      • Inés Plasencia Camps, “Citizenship in between. Looking for methods to visual studies in Spanish Guinea during the Francoist dictatorship”
      • Cécile Stephanie Stehrenberger, “Annobón 1988. Slow Disaster, Colonialism, and the Franco Dictatorship”

Volume 12, Issue 1, 2020 

      • Iain Boyd Whyte, Editorial
      • “Handbook of Skills,” originally published as Kunstbüchlin: gerechten gründtlichen Gebrauchs aller kunstbaren Werckleut,(Frankfurt am Main: Egenolff 1535?), translated from German by Mathias Pfaller.
      • “The memoirs of Chitranibha Chowdhury,” from Mastermosye Nandalal (ed.) Sushovan Adhikari (Kolkata: Laal Maati. 2016), 111-117, translated from Bengali by Shilpi Das.
      • Rui Oliveira Lopes, “Jesuit Visual Culture and the Song Nianzhu Guicheng. The Annunciation as a Spiritual Meditation on the Redemptive Incarnation of Christ”

Volume 11, Issue 4, 2019: Art in Translation: Taiwan, Hong Kong, and Korea, 2. Guest editors Chia-Ling Yang (University of Edinburgh) and Yunchiahn C. Sena (Trinity College, Hartford, Connecticut)

      • Nancy Lin, “Peking Opera and Heavenly Maidens in Postwar Korea: Kim Ŭn-ho’s Portraits of Mei Lanfang”
      • Tzu-Ning Wu, “Millennials’ Incubation: Posthuman Bodies in Taiwanese Contemporary Arts”
      • Yu-Chieh Li, “Translating Happenings: Frog King Kwok’s Abject Play”
      • Nicola Foster, “Translating Nüshu: Drawing Nüshu, Dancing Nüshu”

Volume 11, Issue 3, 2019 

      • Iain Boyd Whyte, Editorial
      • al-Ṣadr al-Shahīd ʿUmar ibn ʿAbd al-ʿAzīz al-Bukhārī (1090-1141), “The Book of Claims for Buildings, Roads, and Waterways,” translated from German by Elias G. Saba
      • Irene (Rena) Fatsea, “Theophil Hansen’s Athenian Academy in the Context of Nineteenth-Century Romantic Classicism,” first published 2014, translated from Greek by Irene (Rena) Fatsea
      • Arnold Höllriegel (pseud. Richard A. Bermann), “Journey Through the Great Picture Book,” from, Amerika-Bilderbuch, ed. by Michael Grisko (Göttingen: Wallstein Verlag, 2012), 47-51, translated from German by Jonathan Drake
      • Arnold Höllriegel (pseud. Richard A. Bermann), “The American Normal Town,” ibid. pp. 120-123, translated from German by Jonathan Drake
      • Cinta Krahe Noblett & Mercedes Simal López, “Ornament and Household Goods from China and Japan (1700–1766)”, translated from Spanish by Isabel Adey (“Ornato y Menaje de la ‘China de Japón’ en la España de Felipe V e Isabel de Farnesio,” in Cuadernos dieciochistas19 (2018): 9–51

Volume 11, Issue 2, 2019 Special Issue: The Protagonists of the Moorish Revival: Translating Ibero-Islamic Heritage in Eighteenth- and Nineteenth-Century Europe
Guest editors Francine Giese (Vitrocentre Romont) and Ariane Varela Braga (University of Geneva)

      • Pedro Navascués (Real Academia de Bellas Artes de San Fernando, Madrid), “The Protagonists of the ‘Antigüedades Arabes de España’ and the San Fernando Royal Academy of Fine Arts in Madrid”
      • Lynda S. Mulvin (University College Dublin), “A Pioneer of ‘Moresque’ Revival in Continental Europe: James Cavanah Murphy (1760–1814)”
      • Katrin Kaufmann (University of Zurich), “The ‘Splendor of the Caliph’s Dwellings’ in Saint Petersburg: Aleksandr Briullov as a Pioneer of Neo-Moorish Style in Russia”
      • Elke Pflugradt-Abdel Aziz (Independent Researcher), “Exhibiting Islamic Architecture in the Second Half of the Nineteenth Century: The Architect Carl von Diebitsch and His Successor Franz Schmoranz Jr in the Service of Egyptian Viceroy Isma’il Pasha”
      • Sarah Tabbal (Ludwig-Maximilians-Universität Munich), “José Villegas y Cordero (1844–1921) in Rome: Orientalist Fantasies, Lifestyle, and Networks”
      • Elodie Baillot (Université Paris 1Panthéon-Sorbonne), “Jean-Charles Davillier’s Network: Artists, Collectors, Scholars, and Moorish Revival”

Volume 11, Issue 1, 2019, Special Issue: Art in Translation: Taiwan, Hong Kong, and Korea
Guest editors Chia-ling Yang and Yunchiahn C. Sena

      • Chia-ling Yang & Yunchiahn C. Sena, Editorial "Art in Translation: Taiwan, Hong Kong, and Korea"
      • Junghee Moon, “Taiwanese Water and Korean Ink: Contemporary Ink Painting in Taiwan and Korea"
      • Aida Yuen Wong, "Ink Painting in the Sinophone World: Liu Kuo-sung’s Hong Kong Period"
      • Su-hsing Lin, "Rebuilding Legitimacy: Hwang Chun Pi and His Landscape Paintings in Postwar Taiwan"
      • Mia Yinxing Liu, "The Surrealist and the Documentary in Chang Chao-tang’s Photography"
      • Chia-Ling Yang, "Never Mind the Translation: Tong Yang-tze’s Art of Writing in Dialogical Perspective"

Volume 10, Issue 4, 2018

      • Iain Boyd Whyte, Editorial
      • Maria van de Velde, “Introduction,” translated by Iain Boyd Whyte. First published in German as “Einleitung,” in Album moderner, nach Künstler- entwürfen DamenkleiderAusgestellt auf der grossen allgemeinen Aus- stellung für das Bekleidungswesen, Krefeld 1900 (Düsseldorf: Wolfrum, 1900), n.p.
      • Karl Scheffler, Heinrich Tessenow, translated by Jonathan Blower and Ben  First published in German in Die Architektur der Großstadt(Berlin: Cassirer, 1913), 164–73.
      •  Mario Fonseca Velasco, On Photography in Chile, translated by Matthias Pfaller. First published in Spanish as “A propósito de la fotografía en Chile,” in Chile Vive (Madrid: Círculo de Bellas Artes, 1987), 33–40.
      • MarioFonseca Velasco, Chile Survives, translated by Matthias Pfaller. First published in Spanish as “Chile (Sobre) Vive,” in AFA 01, eds. Elodie Fulton and Irene Abujatum (Santiago de Chile: Galeria AFA, 2006), 6–12.
      • Ronald Kay, The Reproduction of the New World, translated by Matthias Pfaller. First published in Spanish as “La Reproducción del Nuevo Mundo,” in Del espacio de acá: señales para una mirada americana (Santiago de Chile: Editores Asociados, 1980), 26–9. Reprinted as “La Reproducción del Nuevo Mundo,” Del espacio de acá: señales para una mirada americana (Santiago de Chile: Ediciones Metales Pesados, 2005), 26–9.
      • Alexander G. Rappaport, The Tungus Meteorite of Russian Architecture Studies, translated by Arch Tait. First published in Russian as “Tungkusskii meterorit otechestvennogo arkhitekturovedeniia,” in Iskusstvoznanie, No. 3 (2008): 96–144.

Volume 10, Issue 3, 2018

      • Claudia Hopkins, Editorial
      • Ceren Özpinar, Periods in the Art History of Turkey, translated by Ayşe Lucie Batur. First published in Turkish as “Türkiye Sanat Tarihinde Dönemler,” Edebiyat Fakültesi Dergisi 33, no 1 (2016): 125–140.
      • Abdou Sylla, Islam and Philosophy. The Question of Figuration in Islam and Senegalese Reverse Glass Painting, translated from French by Richard George Elliott. First published as "La question de la figuration dans l'islam et la peinture sous verre Sénégalaise," Éthiopiques66-67 (2001): 97-122.
      • Jean-Loup Amselle, L’art de la friche. French Artistic Networks in Africa, translated from French by Richard George Elliott. First published as L’art de la fricheEssai sur l’art africain contemporain (Paris: Flammarion, 2005). Excerpts: prologue, chapter 7 and conclusion.
      • Anna-Maria Wiljanen, The Various Roles of Women in the Artists’ Colony of Önningeby, translated by Fiona Graham. First published in Swedish as “Various Roles of Women in the Artists’ Colony of Önningeby,” in “Nej, i sanning, ett bättre ställe hade den unga målaren ej kunnat hamna på” Önningeby konstnärskoloni och de mångfacetterade sociala nätverkens interaktion” [“No, truth be told, the young painter could not have ended up in a better place” The artists’ colony of Önningeby and the interaction of the multifaceted social networks] (Helsinki: Finlands Nationalgalleri, 2014), 145–65.

Volume 10, Issue 2, 2018 – Michel Eugène Chevreul, Charles Henry and Nineteenth-Century Aesthetic Theories of Abstraction
Guest editor Barnaby Dicker

      • Barnaby Dicker, Editorial
      • Michel Eugène Chevreul, Abstraction Considered in Relation to the Fine Arts and Literature, translated by Richard George Elliott. First published in French as “De l'abstractionconsidérée relativement aux beaux-arts et à la littérature: quatrième partie d'un ouvrage intitulé ‘De l'abstraction considérée comme élément des connaissances humaines dans la recherche de la vérité absolue’” (Dijon: J. E. Rabutot, 1864).
      • Michel Eugène Chevreul, Extracts from Letters addressed to Abel-François Villemain concerning Method in General, and on the definition of the word FACT in relation to the Sciences, Literature, Fine Art, etc., , translated by Susan de Muth. First published in French as Lettres adressées à M. Villemain sur la méthode en général et sur la définition du motFAIT relativement aux sciences, aux lettres, aux beaux-arts, etc., etc. (Paris: Garnier Frères, 1856), 33–36, 52-54, 73-75, 86-102, 116-127, 160-171.
      • Charles Henry, Introductionto a Scientific Aesthetics, translated by Naomi First published in French as “Introduction à une esthétique scientifique,” in La Revue contemporaine (2 August, 1885), 441-469.
      • Barnaby Dicker, To “thrill the soul before the undulating drama of abstractions”:Where did we get to before “1910”?

Volume 10, Issue 1, 2018 – Translation and Architecture
Guest editors Karen Koehler and Jeffrey Saletnik

      • Karen Koehler and Jeffrey Saletnik, Editorial
      • Jeffrey Saletnik, Introduction: Objects of Architectural Translation
      • Kathryn Blair Moore, Adomnán’s On the Holy Places: Pilgrimage Manuscripts and Architectural Translation from Jerusalem to Europe
      • Carolina Mangone, Vernacular Vignola
      • Sherry Simon, Saxa Loquunter: Prague’s Speaking Stones
      • Dwight Carey, Creole Architectural Translation: Processes of Exchange in Eighteenth-Century Mauritius
      • Min Kyung Lee, Drawing Plans Together: The Administration of Nineteenth-Century Plans of Paris
      • Karen Koehler, Louise Bourgeois: Architecture and Autobiography
      • Esra Akcan, Writing a Global History through Translation: An Afterword on Pedagogical Perspectives

Volume 9, Issue 4, 2017 - Nordic Artists' Colonies 1870-1914 (part 2), edited by Frances Fowle

      • Frances Fowle, Introduction: Nordic Artists’ Colonies 1870–1914 (Part 2)
      • Richard Bergh, Karl Nordström and the Modern Landscape of Feeling (1896), translated from Swedish by Per Nordahl (or Michelle Facos??). First published in Swedish as “Karle Nordströmoch det moderna stämningslandskapet,” in Om Konst och annat (Stockholm: Bonniers, 1908), 110-129.
      • Nils Messel, From Realistic Portrayals to Decorative Form: The Lysaker Circle and ‘Norwegian’ tradition, translatedfrom Norwegian by Rosie Hedger. First published in Norwegian as “Fra realistisk virkelighetsskildring til dekorativ form: Lysaker kretsen og den ‘norske’ tradisjon” in Kunst og Kultur 1982, 3, 152-171.
      • Nicolaus Lützhøft, Introductionto Faaborg Museum: Register of Works, translated from Danish by Paul Russell Garrett. First published in Danish as Faaborg Museum. Fortegnelse over Kunstvaerkerne (Faaborg 2010), iii-x.
      • Ellen Key, Beauty for All, translated from Swedish by Michelle Facos. First published in Swedish in Individualism ochsocialism; några tankar om de  och de manga (Stockholm: Albert Bonniers, 1901)
      • Riitta Konttinen, Homes, Studios and Work Cabins, translated from Finnish by IthaO’Neill. First published in Finnish as “Koteja, ateljeita ja työpirttejä,” Onnellista asua aalla. Tuusulanjärven taiteilijayhteisö (Helsinki: Siltala, 2013), 47-104.

Volume 9, Issue 3, 2017 - Italian Renaissance and China

      • Iain Boyd Whyte, Editorial
      • Karl Giehlow, “Poliziano and Dürer”. First published as “Poliziano und Dürer”, in Mitteilungen der Gesellschaft für vielfältige Kunst, 25, no. 2 (1902), 25-26, translated by Iain Boyd Whyte
      • Christof Thoenes, Architectural Orders: Rebirth or Invention? First published in Italian as “Gli ordini architettonici, rinascita o invenzione?”, in Marcello Fagiolo (ed.), Roma e l’Antico nell’arte e nella cultura del Cinquecento (Rome: Istituto della Enciclopedia italiana 1985), pp. 261–271; republished in Christof Thoenes, Opus Incertum: Italienische Studien aus drei Jahrzehnten (Berlin: Deutscher Kunstverlag, 2002), 199-213, translated by Lucinda Byatt
      • Christof Thoenes, “’Sostegno e adornamento.’ On the Social Symbolism of the Architectural Orders” First delivered as a lecture at the thirteenth German Art Historians’ Conference, Constance, 1972; subsequently published in German as “’Sostegno e adornamento:’ zur Symbolik der Säulenordnung” in Kunstchronik, October 1972, and republished in Christof Thoenes, Opus Incertum: Italienische Studien aus drei Jahrzehnten (Berlin: Deutscher Kunsverlag, 2002), 37-50, translated by Iain Boyd Whyte
      • Jonathan K. Nelson:  Chinese Scholars on Renaissance Studies in the People’s Republic of China. Revised version of a paper given at the conference "The Italian Renaissance and Chinese Receptions,” Nanjing, October, 2015
      • Ge Zhaoguang: From Europe to Japan and on to China: Influences of the Renaissance on Contemporary East Asian Thought and Scholarship. Revised version of a paper given at the conference "The Italian Renaissance and Chinese Receptions,” Nanjing, October, 2015. Translated by Eleanor Goodman
      • Chen Liu: Leonardo Unveiled by Chinese Writers: the Reception of Renaissance Art in 20th-Century China. Revised version of a paper given at the conference "The Italian Renaissance and Chinese Receptions,” Nanjing, 17 October, 2015, edited by Iain Boyd Whyte
      • Zong Baihua, “The Birth of Artistic Conception in China”, Published in Chinese as “Zhongguo yishu yijing zhi dansheng,” in Zong Baihua, Meixue sanbu (“Strolls in Aesthetics,” Shanghai: Renmin chubanshe, 1981), 58-74. Originally published in March 1943, in the first issue of the periodical Shi yu chao wenyi (“Time and Tide – Literature and Art”), translated by Jan de Meyer

Volume 9 Issue 2, 2017 - Nordic Artists' Colonies 1870-1914 (part 1)
Guest editor Frances Fowle

      • Frances Fowle, Introduction: Nordic Artists’ Colonies 1870–1914 (Part 1)
      • Holger Drachmann, Skagen, translated by Paul Russell Garrett. First published in Danish as “Skagen,” in M. Galschiøt (ed.), Danmark i skildringer og Billeder af danske Forfattere og Kunstnere, vol. 1 (Copenhagen: P.G. Philipsens Forlag, 1887), 3–22.
      • Christian Krohg, Skagen 1894, translated by Paul Russell Garrett. First published in Danish as “Skagen 1894,” in Nordahl Rolfsen (ed.), Norge. Norsk Kalender (Kristiania: Jacob Dybwads Forlag, 1894); later reprinted in Holger Koefoed and Oscar Thue (eds), Kampen for tilværelsen (Oslo: Gyldendal Norsk Forlag, 1921, 77–89).
      • Alexandra Herlitz, Introduction to Swedish Artists and Critics at Grezsur-Loing
      • Siri Von Essen, The Artists’ Colony in Grez-par-Nemours 1883, translated by Chris Hall. First published in Swedish as “Artistkolonien i Grez-par-Nemours,” Ny Illustrerad Tidning (February 9, 1884).
      • Johan Christian Janzon (Spada), An Artists’ Colony in Grez, 1883, translated by Chris Hall. First published in Swedish as “En konstnärskoloni. (Bref till Stockholms Dagblad), Grez den 29 september,” Stockholms Dagblad (October 5, 1883).
      • Georg Pauli, Carl Larsson, translated by Chris Hall. First published in Swedish as “Carl Larsson,” in Pariserpojkarne (1926).
      • Marit Werenskiold, The Fleskum Colony 1886 and the Norwegian Summer Night: Naturalism or Neo-Romanticism?, translated by Marie Wells. First published in Norwegian as “Fleskum-kolonien 1886 og den norske sommernatt. Naturalisme eller nyromantikk?,” Kunst og Kultur 71 (1988): 2–30.

Volume 9 Issue 1, 2017 - Spain and Orientalism

      • Anna McSweeney & Claudia Hopkins, Editorial
      • Ariane Varela Braga, The Arab Room of the Palacio de Cerralbo
      • Asun González Pérez, Reconstructing the Alhambra: Rafael Contreras and Architectural Models of the Alhambra in the Nineteenth Century
      • Anna McSweeney, Mudéjar and the Alhambresque: Spanish Pavilions at the Universal Expositions and the Invention of a National Style
      • Oscar E. Vázquez, Vision, Lamentation and Nineteenth century Representations of the End of al-Andalus
      • David Sánchez Cano, Allende el Estrecho (Beyond the Straits): The Photographic Gaze on the Orient in Andalusia and Morocco
      • Elisabeth Bolorinos Allard, Visualizing “Moorish” Traces within Spain: Orientalism and Medievalist Nostalgia in Spanish Colonial Photojournalism 1909–33
      • Claudia Hopkins, The Politics of Spanish Orientalism: Distance and Proximity in Tapiró and Bertuchi
      • Select Bibliography “Spain and Orientalism”

Volume 9, supplementary issue, 2017 - Connecting Art Histories (Getty Foundation Research Papers)

      • Iain Boyd Whyte, Editorial
      • Deborah Marrow & Joan Weinstein, Introduction: Connecting Art Histories
      • Hannah Baader, Avinoam Shalem & Gerhard Wolf, “Art, Space, Mobility in Early Ages of Globalization”: A Project, Multiple Dialogue, and Research Program
      • Kavita Singh, Colonial, International, Global: Connecting and Disconnecting Art Histories
      • Çiğdem Kafescioğlu, Istanbul Connections
      • Saadet Özen, The Visual Making of the Harem
      • Nilay Özlü, Between Object(ive) and Subject(ive): Museum Narratives with Donald Preziosi
      • Gabriela Siracusano & Agustina Rodrîguez Romero, Materiality between Art, Science, and Culture in the Viceroyalties (16th–17th Centuries): An Interdisciplinary Vision toward the Writing of a New Colonial Art History
      • Tristan Weddigen, Hispano-Incaic Fusions: Ángel Guido and the Latin American Reception of Heinrich Wölfflin
      • Andrea Giunta & George F. Flaherty, Latin American Art History: An Historiographic Turn

Volume 8, Issue 4, 2016, Difference

      • Claudia Hopkins, Editorial
      • Raimundo Nina Rodrigues, Fine Art among the Black Settlers of Brazil—Sculpture, translated by Lia Raitt from Portuguese. First published as “As bellas-artes nos colonos pretos do Brazil—a esculptura,” in Kósmos, Revista Artistica, Scientifica e Litteraria 1, no.8 (1904): 6–11.
      • Viktoria Schmidt-Linsenhoff, Working on the Stereotype: Mona Hatoum and Gülsün Karamustafa, translated by David Sánchez Cano from German. First published as “Arbeit am Stereotyp: Mona Hatoum und Gülsün Karamustafa,” in Ästhetik der Differenz. Postkoloniale Perspektiven vom 16. bis 21. Jahrhundert; 15 Fallstudien (Marburg: Jonas Verlag für Kunst und Literatur, 2010, second ed. 2014) 219–42.
      • Viktoria Schmidt-Linsenhoff, Georges Adéagbo’s Postcolonial Cabinet of Curiosities, translated by David Sánchez Cano from German. First published as “Georges Adéagbos Postkoloniale Kunstkammer,” in Ästhetik der Differenz. Postkoloniale Perspektiven vom 16. bis 21. Jahrhundert. 15 Fallstudien (Marburg: Jonas Verlag für Kunst und Literatur, 2010), 338–59.
      • Ottokar Uhl, Democratized Aesthetics, translated by Iain Boyd Whyte from German. First published as “Demokratisierte Äesthetik,” in Dirisamer, Figlhuber, and Werner (eds), Marginalien zur Kunstpädagogik (Vienna: Verlag Jugend und Volk, 1976) and then in Gegen-Sätze, Architektur als Dialog (Vienna: Picus, 2003), 171–9.

Volume 8, Issue 3, 2016

      • Iain Boyd Whyte, Editorial: Carefully Slide
      • Margit Kern, Pictorial Theories by Missionaries in Sixteenth-century New Spain: The Capacities of Hieroglyphs as Media in Transcultural Negotiation, translated by Richard George Elliot from German. First published as "Bildtheorien der frühen Mission - Die medialen Möglichkeiten der Hieroglyphe” and “Die Kreuze von Yucatán als Hieroglyphen des Glaubens,” in Transkulturelle Imaginationen des Opfers in der frühen Neuzeit (Berlin: Deutscher Kunstverlag, 2013), 76-99.
      • Hans Himmelheber, The Portrait in African Art. Report on a Series of Experiments, translated by Richard George Elliott from German. First published as “Das Porträt in der Negerkunst. Bericht über eine Versuchsreihe,” Baessler Archiv Neue Folge, Band XX (1972): 261–311.
      • Pavel Janák, The Renewal of the Façade, translated from Czech by Marta Filipova. First published as Pavel Janák, “Obnova průčeclí” Umělecký měčník II (1912–1913): 85-97.

Volume 8 Issue 2, 2016, special issue: 20th-Century Russian Art (edited by Igor Dukhan and Richard Anderson)

      •  Igor Dukhan, Editorial: Controversies and Transfigurations: Views on Russian Twentieth-Century Arts and Architecture.
      • Ekaterina Bobrinskaya, Scythianism in Early Twentieth-century Russian Culture and the Scythian Theme in Russian Futurism, translated by Arch Tait. First published as “‘Skifstvo’ v russkoi kul’ture nachala veka i skifskaia tema u russkikh futuristov.”
      • Victor Carpov, Typology and Ideology: Moisei Ginzburg Revisited, translated by Christina Lodder. First published as “Tipologiia i ideologiia: vozvrashchenie M.Ia. Ginzburga.”
      • Igor Dukhan, Visual Geometry: El Lissitzky and the Establishment of Conceptions of Space – Time in Avant-garde Art, translated by Christina Lodder. First published in Russian as “‘Vizual’naia pangeometriia: El’ Lisitskii v stanovlenii prostranstvenno-vremennoi kontseptsii iskusstva avangarda,” Iskusstvoznanie 10, nos 3-4 (2010): 386-99.
      • Andrei Barkhin, Ilia Golosov’s Work of the 1930s and the Soviet Version of Art Deco, translated by Christina Lodder. First published in Russian as “Raboty I. A. Golosova 1930 – kh I sovetskaia versiia ar-deko,” Academia: Arkhitektura i stroitel’stvo no 2 (2013): 36-43.
      • Olga Kostina, The Moscow Metro: “Ode to Joy”, translated by Albina Ozieva and Jeremy Howard. First published in Russian as “Moskovskoe Metro – ‘Oda k radosti,’” Russkoe Iskusstvo, no 2 (2012): 40-9.
      • Irina Zavedeeva, Socialist Realism and Socialist Realist Romanticism, translated by Albina Ozieva and Jeremy Howard. First published as “Sotsialisticheskii realizm i sotsrealisticheskii romantizm.” Russkoe Iskusstvo, no 1 (2014): 82-91.

Volume 8 Issue 1,  2016 - Special Issue: Cinematographic Art (guest-edited by Barnaby Dicker, Royal College of Art) 

      • Barnaby Dicker, Editorial: Starting, Stopping and Synthesizing Cinematographic Art.
      • Joseph Plateaux, On a New Type of Optical Illusion, translated by Richard G. Elliott from French. First published as “Sur un nouveau genre d’illusions d’optique,” Correspondance mathématique et physique de l’observatoire Bruxelles (1832): 365–8.
      • Simon Stampfer, Stroboscopic Disks, An Explanation, translated by Jonathan Blower from German. First published as “Erklärung der Stroboscopischen Scheiben. Optischen Zauberscheiben,” in Die Stroboscopischen Scheiben, oder optischen Zauberscheiben. Deren Theorie und wissenschaftliche Anwendung, erklärt von dem Erfinder, S. Stampfer, Professor der practischen Geometrie am k. k. polytechnischen Institute zu Wien (Vienna/ Leipzig: Trentsensky and Vieweg, 1833): 5–24.
      • Jan Evangelista Purkyne, Kinesiscope, translated by David Short from Czech. First published as “Kinesiskop,” in František Ladislav Rieger and Jakub Malý (eds.), Slovník naučný [Encyclopedia], Vol. 4 (Prague: I.L. Kober, 1864): 657.
      • Maréchal, The Animated Stereoscopic Portrait, translated by Laura Bennett from French. First published as “Le portrait stéréoscopique animé,” La Nature, 1843 (2ème semestre 1908): 256.
      • Bernhard Diebold, "A New Art: The Visual Music of Film," translated by Jonathan Blower. First published as “Eine neue Kunst: Die Augenmusik des Films,” Frankfurter Zeitung (2 April 1921) and taken here from Christian Kiening and Heinrich Adolf (eds.), Der absolute Film: Dokumente der Medienavantgarde (1912–1936), (Zurich: Chronos Verlag, 2012): 69–71.
      • Bernard Diebold, The Future of Mickey Mouse, The Animated Film as Cinema Art, translated by Jonathan Blower from German. “Die Zukunft der Micky-Maus (Theorie des Trickfilms, als einer neuen Kinokunst)” as a radio lecture for Frankfurter Radio on 16 June 1932, preserved as a typescript in the Oskar Fischinger Collection in the Deutsches Filmmuseum, Frankfurt am Main, and first published in Christian Kiening and Heinrich Adolf (eds.), Der absolute Film: Dokumente der Medienavantgarde (1912–1936) (Zurich: Chronos Verlag, 2012): 300-4.
      • Pierre MacOrlan, Grandville a Precursor, translated by Richard G. Elliott from French. First published as “Grandville, le Précurseur,” Arts et Métiers Graphiques 44 (15 December 1934): 19-25.
      • Hanada Kiyoteru, Cheshire Cat, translated by Robin Thompson from Japanese. First published in Japanese as “Warai Neko,” in Avangyarudo no geijutsu[Avant-Garde Art] (Tokyo: Miraisha, 1954), taken here from Hanada Kiyoteru chosakushū [Collected Works of Hanada Kiyoteru], Vol. 3 (Tokyo: Miraisha, 1964): 218–31.
      • Michel Gheude, The Photogramme as Signifier, translated by John Goodman from French. First published as “Les Photogrammes comme signifiant,” Cinéthique 7/8 (1970): 256–65.
      • Sylvie Pierre Ulmann, Elements for a Theory of the Photogramme, translated by Richard G. Elliott from French. First published as “Éléments pour une théorie du photogramme,” Cahiers du cinema 226–7 (January–February 1971): 75–83.

Volume 7 Issue 4, December 2015 - From Perception to Reception

      • Claudia Hopkins, Editorial: From Perception to Reception
      • Theodor Vischer, The Symbol, translated from German by Holly A. Yanacek (Das Symbol, “Das Symbol,” in Philosophische Aufsätze. Eduard Zeller zu seinem fünfzigjährigen Doctor-Jubiläum gewidmet. Leipzig: Fue’s Verlag,
        1887, 153–193)
      • Santiago Rusiñol, 'El Greco at Home' and 'Address on the Occasion of the Raising of the Monument to El Greco', translated from Spansih and Catalan by Jeremy Roe (El Greco en casa, Impresiones de Arte,” La Vanguardia, March 8, 1894, 4–5. and Santiago Rusiñol, “Discurs amb motiu de l’emplaçament del Monument al Greco, Sitges, 25 d’agost de 1897,” El Eco de Sitges, August 29, 1897)
      • Fernando Marías, The Brilliance and Gloom of a Passion: Zuloaga and El Greco, translated from Spanish by Jeremy Roe (“Luces y sombras de una passion:
        Zuloaga y El Greco,” Cuadernos de Arte no. 40, 2009, pp. 317–52. The translation is based on an updated version of this text)
      • Karolina Jakaite, The Lithuanian Pavilion at the 1968 London Exhibition, translated from Lithuanian by Jurij Dobriakov (Lietuvos paviljonas
        Londono parodoje 1968 m.,” Menotyra 20, no 4 (2013): 302–23)

Volume 7 Issue 3, October 2015 - Early Twentieth-Century Sculpture (with funding from the Henry Moore Institute)

      • Lisa Lefeuvre, Editorial
      • Roberto Longhi, Futurist Sculpture Bocchioni, translated by Rosalind McKever with Lucinda Byatt and Frank Dabell from Italian (Scultura futurista, 1914)
      • Otto Gutfreund, Of Art Old and New, translated by David Short from Czech (based on a manuscript written in 1913/14, first published as 'From the notes by Otto Gutfreund', in Volné Smĕry, volume 25, 1923-8)
      • Otto Gutfreund, On the Nature of Sculpture, translated by David Short from Czech (based on a manuscript dated ca. 1912, National Gallery in Prague)
      • Peter Wittlich, The Cubism of Otto Gutfreund, translated by David Short from Czech (“Gutfreund ů v kubismus,” Umění, 14, no. 3, 1966, pp. 247–56)
      • Maximilian Voloshin, Edward Wittig. On the Possible Paths of Sculpture, translated from Russian by Dina Akhmadeeva (first published in Apollon 5, May 1913, pp. 19–28)
      • Abram Efros, Fifteen Years of Sculpture, translated from Russian by Dina Akhmadeeva (first published in M. M. Arkad'ev, et al., O zhivopisi, plakate i skul'pture za XV let. Sbornik Statey, Moscow: Vsekokhudozhnik, 1934, pp. 65–71)
      • Franz Seiwert, Constantin Brancusi, the Sculptor, translated from German by Debbie Lewer (“Constantin Brancusi, der Bildhauer,” a bis z (Organ der
        Gruppe progressiver Künstler), no 2, November 1929, pp. 5–7)

Volume 7 Issue 2, June 2015 - Special Issue on Fashion (guest-edited by Ulrich Lehmann in association with Chris Breward)

      • Ulrich Lehman, Editorial: Fashion as Translation
      • Iain Boyd Whyte, Claudia Hopkins, Obituary Notice: Piotr Piotrowski
      • B [Honoré de Balzac], The Physiology of Attire, translated by Richard George Elliott from French ("Physiologie de la Toilette,” La Silhouette,3, 8 and 13 July 1830)
      • Maximilliene de Syrène, A Critical Review of Fashion, translated by Richard George Elliott from French (“Revue critique de la mode,” Le
        Constitutionnel, 1 September, 1845)
      • Théodore de Banville, The Palace of Fashion, translated by Susan de Muth from French (“Le Palais de la mode,” Œuvres—Le Sang de la Coupe, 36
        Ballades Joyeuses, Le Baise, January 1850, Paris: Lemerre, 1890)
      • Théophile Gautier, On Fashion, translated by Richard George Elliott from French (De la mode, Paris: Poulet-Malassis et de Broise, 1858)
      • Gabriele D'Annunzio, Society News (excerpts), translated by Lucinda Byatt from Italian (“Cronaca mondana,” 1884–88, reprinted in Portava un abito ... Obiettivo d’Annunzio— moda, Milan, 1995)
      • Paul Claudel, On Fashion, translated by Susan de Muth from French (“Sur la Mode,” 1921, Oeuvres en prose, Paris: Gallimard, 1965)
      • René Crevel, The Great Shop Window Dummy Seeks and Finds Her Skin, translated by Susan de Muth from French (“La grande mannequin cherche et
        trouve sa peau,” Minotaure 1, no 5, 1934)
      • Marthe Princesse Bibesco, Excerpts from Noblesse de Robe, translated by John Goodman from French (Noblesse de robe, Paris: Grasset, 1928)
      • Irene Brin, Women’s Wardrobes, Men’s Wardrobes, translated by Lucinda Byatt from Italian (Usi et Costumi 1920–1940, 1944 Palermo: Sellerio, 1981)
      • Michel Butor, Fashion and the Modern, translated by Richard George Elliott from French (“Mode et Moderne,” Change 4: la mode, l’invention, Paris: Seuil, 1969)
      • Jan Mukařovský, Aesthetic Function, Norm and Value as Social Facts (excerpts), translated by David Short from Czech (Estetická funkce, norma a hodnota jako sociální fakty, Prague, 1935-36)
      • Tristan Tzara, Dress Poems, translated by Susan de Muth from French (“Le ventillateur tourne” and “L’Ange a glissé” in letters addressed to Sonia Delaunay, 1922–1923. Integrated by Sonia Delaunay into watercolours known as Robes-poèmes, 1922–1923)

Volume 7 Issue 1, March 2015 – Special Issue:
Translation and Hispanic Visual Culture 

      • Claudia Hopkins, Editorial: "Translation and Hispanic Visual Culture"
      • Tom Nickson, "Texts and Talismans in Medieval Castile"
      • Mariam Rosser-Owen, "Islamic Objects in Christian Contexts: Relic Translations and Modes of Transfer in Medieval Iberia"
      • Tom Cummins, "Here, There and Now: Deictics and the Transposition of Orality to Image in Colonial Imagery"
      • Hilary Macartney, "Faith in Facsimile. The Invention of Photography and the Reproduction of Spanish Art"
      • Luis Menéndez, "Slavery and the Guild in Golden Age Painting in Seville", translated from Spanish by Jeremy Roe. Originally published as "Gremio y esclavitud en la pintura sevillana del siglo del oro," Archivo hispalense: Revista histórica, literaria y artística 84, nos 256-7 (2001): 243-56.
      • Andrew Ginger, "From Cultural Translation to Translation inside Photographs"

Volume 6 Issue 4, December 2014

      • Iain Boyd Whyte, Editorial
      • Robin Curtis, "An Introduction to Einfühlung", translated by Richard George Elliott from German (“Einführung in die Einfühlung”, in Robin Curtis and Gertrude Koch (eds.), Einfühlung. Zu Geschichte und Gegenwart eines ästhetischen Konzepts, Munich: Wilhelm Fink, 2008)
      • Joseph Imorde, Empathy in Art History, translated by Richard George Elliott from German ("Einfühlung in der Kunstgeschichte", in Curtis and Koch, 2008)
      • Kirsten Wagner, Animating Architecture: Empathy and Architectonic Space, translated by Jonathan Blower from German (“Die Beseelung der Architektur. Empathie und architektonischer Raum”, in  Curtis and Koch, 2008).
      • Peter Sloterdijk, Museum — School of Alienation, translated by Iain Boyd Whyte from German (“Museum — Schule des Befremdens”, in Der aesthetische Imperativ, Hamburg, 2007).

Volume 6 Issue 3, September 2014

      • Claudia Hopkins, Editorial
      • Karel van Mander, Excerpts of the Lives of Italian Artists from the Book of Painters, translated by Paul Arblaster from Dutch (T’leven van Frederijck Zucchero; Het leven van Frederijck Barozio; Het leven van Iacob Palma; Van Ioseph van Arpino; T’leven van noch ander Italiaenische Schilders, die teghenwoordigh te Room zijn; Van eenige italiaensche Vrouwen, die de Teycken-const, en Schilderen constich hebben gheoeffent; Van verscheyden Italiaensche schilders die in mijnen tijdt te Room waren, tusschen Ao. 1573. en 1577, first published in Het Schilder-boeck, Haarlem 1604)
      • Félix Fénéon, The Impressionists in 1886,translated from French by Belinda Thomson, first published as “Les Impressionistes en 1886”, La Vogue, 13-20 June 1886; then as a separate pamphlet; see Joan U. Halperin ed., Félix Fénéon, Oeuvres plus que complètes (Geneva, Droz, 1970) I, pp.27-45.
      • Roberto Longhi,  Futurist Painters, translated by Rosalind McKever and Lucinda Byatt, with revisions by Frank Dabell from Italian (“I Pittori Futuristi”, La Voce, Vol. V, No. 15, 10 April 1913)
      • Hubert Damisch, Dubuffet or the Reading of the World, translated by Kent Minturn and Priya Wadhera from French ("Dubuffet ou la lecture du monde", Art de France 2, 1962)
      • Herbert Molderings, Out of the Spirit of Constructivism—Photo-historical reflections on Walter Benjamin’s “Little History of Photography”. Translated from German by John Brogden (“Fotogeschichte aus dem Geist des Konstruktivismus—Gedanken zu Walter Benjamin’s ‘Kleine Geschichte der Photographie’”—published in: H. Molderings, Die Moderne der Fotografie, Hamburg: Philo Fine Arts, 2008)

Volume 6 Issue 2, June 2014 - Special Issue - The New German Art History

      • Iain Boyd Whyte, Johanna Wild, Editorial
      • David Craven, Introduction: The New German Art History. From Ideological Critique and the Warburg Renaissance to Bildwissenschaft and the three Bs
      • Martin Warnke, Preliminary Remarks to The Work of Art between Scholarship and Worldview, Translated by Richard George Elliott from German (“Vorbemerkungen”, in Warnke (ed.) Das Kunstwerk zwischen Wissenschaft und Weltanschauung,  1970)
      • Martin Warnke, Ideological Motifs in Popular Literature of Art History, translated by Richard George Elliott from German ( “Weltanschauliche Motive in der kunstwissenschaftlichen Populärliteratur”, in Warnke (ed.), Das Kunstwerk zwischen Wissenschaft und Weltanschauung, Gütersloh: Bertelsmann, 1970)
      • Berthold Hinz, The Bamberg Horseman, translated by Jonathan Blower and Johanna Wild from German (“Der Bamberger Reiter” in Warnke (ed.), Das Kunstwerk zwischen Wissenschaft und Weltanschauung, Gütersloh: Bertelsmann, 1970)
      • Horst Bredekamp, “Autonomy and Asceticism”, translated by Jonathan Blower and Johanna Wild from German ("Autonomie und Askese" in Michael Müller, Horst Bredekamp, Franz-Joachim Verspohl et al. (eds), Autonomie der Kunst. Zur Genese und Kritik einer bürgerlichen Kategorie (Frankfurt am Main: Suhrkamp Verlag, 1972, 88-95 and 169-171.)
      • Horst Bredekamp, False Ski-Turns. Wind’s Critique of Heidegger and Sartre, translated Iain Boyd Whyte from German ("Falsche Skischwünge. Winds Kritik an Heidegger und Sartre, in Edgar Wind, Kunsthistoriker und Philosoph (Berlin: Akedemie der Künste Verlag, 1988)

Volume 6 Issue 1, March 2014

      • Iain Boyd Whyte, Editorial
      • Ernst Grosse, Ethnology and Aesthetics, translated by Claudia Hopkins from German  (“Ethnologie und Aesthetik”,  Vierteljahrsschrift für wissenschaftliche Philosophie, 1891, vol. 15 no. 4).
      • Vladimir Markov, The Art of Easter Island, translated from Russian and with annotations by Jeremy Howard (“Iskusstvo ostrova paskhi”, Union of Youth Society of Artists, St Petersburg, 1914)
      • Rémy Labrusse, “Anthropological Delirium: Josef Strzygowski Confronts Alois Riegl,” translated from French by John Goodman (“Délires anthropologiques: Josef Strzygowski face à Alois Riegl,” in Histoire de l’art et anthropologie, INHA/Musée quai Branly, les actes de colloques,, 2009)
      • Silvia Naef, From Rarity to Profusion (1800 to the present), translated from French by Richard George Elliott (“De la rareté a la profusion”, chapter 3 in Silvia Naef, Y a-t-il une “question de l’image” en Islam?, Paris: Téraèdre, 2004). Introduction by Dario Gamboni

Volume 5 Issue 4, Special Issue: The Reception of African Art, December 2013

      • Claudia Hopkins, Editorial: "The Reception of African Art"
      • Chris Marker, The Statues Also Die (voiceover for the film Les Statues Meurent Aussi, directed by Chris Marker and Alain Resnais, 1950–3), translated by Lauren Ashby (a revised version of existing English subtitles).
      • Jean Laude, Introduction to French Painting (1905-1914) and “Negro Art”, translated by Richard George Elliott from French (“Introduction: Le problème”, La peinture française et l’art nègre (1905-1914). Contribution a l’étude des sources du fauvisme et du cubisme, Paris, 1968. Éditions Klincksieck, new edition 2006).
      • Yacouba Konaté, Dak’Art: The Making of Pan-Africanism and the Contemporary, translated by Richard George Elliott ("Dak’Art: La fabrique de Panafricanisme et de Contemporain", La Biennale de Dakar, 2009)

Volume 5 Issue 3, September 2013

      • Iain Boyd Whyte, Editorial: "Moving House - Berlin to Ankara"
      • Josef Vojvodík, The Concept of Structure and Art Work in Structural Art History of Hans Sedlmayr in Comparison with Structural Aesthetics of Jan Mukařovský, translated by David Short from Czech (Pojetí struktury a uměleckého díla ve strukturální uiměnovědě Hanse Sedlmayra, Umění, 1997/ XLV, No. 1)
      • Evfimy Chudovsky [Euthymius of Chudov Monastery], On Icon Painting, translated by Jeremy Howard, Albina Ozieva, Vladimir Semakov from Russian (written c. 1700 and first published in Vestnik obshchestva drevnerusskogo iskusstva pri Moskovskom Publichnom muzee, 1874, 1-3)
      • Hugo Ball, On Occultism, the Hieratic and Other Strangely Beautiful Things, translated by Debbie Lewer from German (“Über Okkultismus, Hieratik und andere seltsam schöne Dinge’”, first published in: Berner Intelligenzblatt, 15 November 1917, and then in Hans Burkhard Schlichting (ed.), Hugo Ball. Der Künstler und die Zeitkrankheit. Ausgewählte Schriften, Frankfurt am Main: Suhrkamp 1984, pp. 54-57)
      • Stanislav Kostka Neumann, Open Windows, translated from Czech by David Short (“Otevřená okna”, Prague, 1913)

Volume 5 Issue 2, June 2013 – Special Issue:
Chinese Art and Translation (guest-edited by Chia-Ling Yang, University of Edinburgh)

      • Iain Boyd Whyte, Editorial: "Chinese Art and Translation"
      • Michael Nylan, Arthur Wayley and Li Zehou: Two Aesthetes Translating
      • Youngsook Pak, Ch’aekkado – A Chosŏn Conundrum
      • Wei-Cheng Lin, Untranslatable Iconicity in Liang Sicheng's Theory of Architectural Translatability
      • Yuka Kadoi, Translating from jing to mir'āt / ā'īna: Medieval Islamic Mirrors Revisited
      • Hsueh-man Shen, Indian Makara or Chinese Dragon-Fish? Textual Translation and Visual Transformation of Makara in China
      • Puay-peng Ho, Mind the Gap: Bridging Historiography on Chinese Architecture in the Early Twentieth Century

Volume 5 Issue 1, March 2013 – Special Issue:
Art in the former German Democratic Republic (guest-edited by Debbie Lewer, University of Glasgow)

      • Debbie Lewer, Introduction: Art and Cultural Politics in the German Democratic Republic
      • Various authors, Excerpts from the speeches at the Opening of the General German Exhibition, translated from German by Debbie Lewer (“Auszüge aus den Reden zur Eröffnung der Allgemeinen Deutschen Kunstausstellung,” in Allgemeine Deutsche Kunstausstellung, Dresden, 1946, exh. cat., n. pag.)
      • Peter Feist, Buchenwald - Warning and Commemoration, translated from German by Iain Boyd Whyte ("Buchenwald—Mahnung und Gedenken”, Bildende Kunst, 12 (1958): 795–805).
      • Inge Weinke, The Art Critic: The Socialist Brigade, translated from German by Jonathan Blower ("Kunstkritiker: Sozialistische Brigaden,” Junge Kunst, 3 (1961):
        34–9, © Ritterbach Verlag, Germany).
      • Anonymous, The Bitterfeld Way: Taking Stock. Thoughts on the Fifth German Art Exhibition, translated from German by Fiona Elliott ("Bilanz des Bitterfelder Weges: Gedanken zur V. Deutschen Kunstausstellung in Dresden,” Bildende Kunst, 11 (1962): 563–72).
      • Günter Feist, We Have to Make Things Harder for Ourselves, translated from German by Jonathan Blower (“Wir müssen es uns schwerer machen”, Part 1 in Bildende Kunst, 12 (1963): 619–25; Part 2 [censored in 1964], “Fortsetzung,” facsimile reprint from
        the destroyed print of Bildende Kunst, 4 (1964), in Bildende Kunst: Zeitschrift
        für Kunst und Kritik, 3 (1991): 171–7)
      • Annelies Weidner, Does Modern Architecture Need the Art Work?, translated from German by Iain Boyd Whyte (“Bedarf moderne Architektur des Kunstwerks?” [1965], in VBKD Sektion Kunstwissenschaft (ed.), Unsere Kunst im Spiegel der Kritik
        Berlin: Henschelverlag, 1969 pp. 109–13).
      • Roland März, Introduction to Collage in the Art of the GDR, translated from German by Debbie Lewer (Die Collage in der Kunst der DDR, exh. cat., Das Studio, Staatliche Museen zu Berlin, National-Galerie Ausstellung im Alten Museum, exh. February 14–
        April 6, 1975, n. pag.).
      • Peter Feist, Gabriel Sprigath, Socialist Realism is on the Move, translated from  German by Jonathan Blower (“Der sozialistische Realismus ist in Bewegung geraten,” Gespräch zwischen Peter Feist und Gabriele Sprigath, Tendenzen, 104 (16, Nov./
        Dec. 1975): 34–8).
      • Various speakers, Positions and New Questions on the Nature and Critera of Socialist Realism. Edited Proceedings from the Ninth Congress of the Central Committee of the Association of Visual Artists in the German Democratic Republic, Magdeburg, 22-3 November 1976 (excerpts), translated from German by Jonathan Blower (Positionen und neue Fragestellungen zum Wesen und zu den Kriterien des sozialistischen Realismus: 9. Tagung des Zentralvorstandes des Verbandes Bildender Künstler der DDR, Magdeburg, 22–23 November 1976, pp. 44–77).
      • Hermann Raum, Documenta and Co Ltd. and Its Impact on the Art Business, translated by Iain Boyd Whyte (“Die Documenta-GmbH und ihre Wirkungen im Kunstbetrieb, in Hermann Raum, Die bildende Kunst der BRD und
        Westberlins (Leipzig: VEB E. A. Seemann Verlag, 1977, pp. 71–3).
      • Roland März, Introduction to From Collage to Assemblage: Aspects of Material Art in the GDR, translated from German by Debbie Lewer (Von der
        Collage zur Assemblage: Aspekte der Materialkunst in der DDR, exh. cat., Das Studio exhibition 18, Staatliche Museen zu Berlin, National-Galerie Ausstellung im Alten Museum, exh.June 29–August 27, 1978, n. pag.).
      • Edouard Beaucamp, Dissidents, Court Artists, Painter Princes: On the Awkward Reunification of German Art, translated from German by Fiona Elliott (“Dissidenten, Hofkünstler, Malerfürsten: Über die schwierige Wiedervereinigung deutscher Kunst” [1990], in Eduard Beaucamp, Der verstrickte Künstler: wider die Legende von der unbefleckten Avantgarde, Köln: DuMont, 1998, pp. 87–95).

Volume 4 Issue 4, December 2012 – Special Issue on Japan:

      • Iain Boyd Whyte, Editorial
      • Tange Kenzō, In Praise of Michelangelo: A Preliminary Study of Le Corbusier, translated by Robin Thompson (Michelangelo sho: Le Corbusier ron e no josetsu to shite’, in Genai KenchiKu, 1939, vol. 7). Introduction by Jonathan Reynolds.
      • Horiguchi Sutemi, ‘Japanese Taste’ in Modern Architecture, translated from Japanese by Robin Thompson (“Gendai kenchiku ni arawareta Nihon shumi ni tsuite”, Shisô, January 1932). Introduction by Jonathan Reynolds.
      • Kitazawa Noriaki, Art History on the Borderline, Notes on the Historical Formation of the Concept of ‘Art’ in Japan, translated from Japanese by Robin Thompson ("'Bijutsu' gainen no keisei to riarizumu no ten'i", Kyôkai no bijutsushi, 2000). Introduction by Jonathan Reynolds.
      • Fukagawa Masafumi, Is the World Beautiful? Moriyama Daido’s Provocation of the History of Photography, translated from Japanese by Lena Fritsch (first published as “Sekai wa utsukushii ka? Moriyama Daidô, shashinshi e no chôhatsu”, in Seikyusha (ed.), Moriyama Daidô to sono jidai (Tokyo: Seikyusha, 2007), p. 411–428). Introduction by Lena Fritsch.
      • Jun Tanaka, The Dogs’ Quarter. Epic Poetry on the Threshold: Daidō Moriyama’s ‘Shinjuku’, translated from Japanese by Robin Thompson (“Inu no machi. Kyokai no jojishi, Moriyama Daidō ‘Shinjuku’ ”, Toshi no shigaku [Urban Poetics. Analyses of Urban Representation] (Tokyo: Tokyo University, p. 242–262). Introduction by Lena Fritsch.
      • Kasahara, Michiko, “Morimura Yasumasa – Portrait (Futago)”, translated from Japanese by  Lena Fritsch  (2002). Introduction by Lena Fritsch.

Volume 4. 3, September 2012

      • Claudia Heide, Editorial
      • Gabi Dolff-Bonekämper, National – Regional – Global? Old and New Models of Societal Heritage Constructions, translated by Jonathan Blower (“National – Regional – Global? Alte und neue Modelle gesellschaftlicher Erbekonstruktionen”, Acta Historiae Artium, Academie Scientiarum Hungaricae 49 (2008): 235-241.) Introduction by Iain Boyd Whyte.
      • Henry Lefebvre, Revolutionary Romanticism’, translated from French by Gavin Grindon (“Romantisme Révolutionaire”, written May 1957, first published in Nouvelle Revue Française, no. 58, 1st October 1957, pp.644-672. Reprinted in Au-Delà Du Structuralisme, Éditions Anthropos, Paris, 1971. pp. 27-50.). Introduction by Gavin Grindon.
      • Vincenc Kramář, ‘The Origin and State of Modern Still-Life. The Creative Act of Caravaggio’, translated by Marta Filipová from Czech (Volné směry, XXIII, 1924-1925, pp. 129-60 and 177-188). Introduction by Vojtêch Lahoda.
      • Christian Joschke, The origins of the social usage of photography, translated by Zachary Brown from French  (“Aux origins des usages sociaux de la photographie”, Actes de la Recherche en Sciences Sociales, 154, Sept. 2004: 53-65). Introduction by Christian Weikop.
      • Daniela Hammer-Tugendhat, Art, Sexuality and Gender Constructs in Western Culture, translated from German by Michael Zanchi (“Kunst, Sexualität und Geschlechterkonstruktionen in der abendländischen Kultur”, first published in Franz Eder and Sabine Frühstück (ed.), Neue Geschichten der Sexualität. Beispiele aus Ostasien und Zentraleuropa 1700-2000 (Vienna: Turia & Kant, 2000), and in the web-based project: muSIEum displaying gender, Vienna, 2003) . Introduction by Leilani Alontago (Winner of the AIT Student Prize 2011)

Volume 4 Issue 2, June 2012

      • Iain Boyd Whyte, Editorial
      • Emil Filla, Edward Munch and Our Generation, translated from Czech by Marta Filipova (“Edvard Munch a nase generace”, in Volne smery, 1938-1940, vol. 35). Introduction by Vojtêch Lahoda.
      • Alois Riegl, Jacob van Ruisdael, translated from German by Christopher Heuer (“Jacob van Ruysdael”, Die Graphischen Künste, XXV, 1902, pp. 11-20). Introduction by Christopher Heuer.
      • Carmen Fracchia, The Fall into Oblivion of the Works of the Slave Painter Juan de Pareja, translated from Spanish by Hilary Macartney (“El olvido de las obras del esclavo pintor Juan de Pareja”, in Siracusano, G. (ed.), Imagenes Perdidas. Censura, olvido, descuido. IV Congreso Internacional de Teoria e Historia de las Artes, 2007). Introduction by Claudia Heide.
      • Julia Gelshorn, The Reception of History and the History of Reception. On the Contemporaneity of Gerhard Richter’’, translated from German by Claudia Heide  (“Geschichtsrezeption und Rezeptionsgeschichte. Zur Zeitgenossenschaft Gerhard Richters’’, in Dietmar Elger and Jürgen Müller, Sechs Vorträge über Gerhard Richter (Köln: Verlag König, 2007). Introduction by Debbie Lewer.
      • Stanisław Czekalski, The Internationale of Automobile Salons and the Hagiography of Revolution. Mieczysław Szczuka at the Crossroads of New Art, translated from Polish by Alicja Weikop (“Międzynarodówka salonów automobilowych i hagiografia rewolucji. Mieczysław Szczuka na rozdrożach nowej sztuki”, Artium Quaestiones, 1998, 9, 75-108) Introdcution by Agata Jabukowska.
      • Hubert Damisch, The Part and the Whole, translated from French by Kent Minturn (“La partie et le tout", Revue d'esthétique, 2, 1970). Introduction by Kent Minturn

Volume 4 Issue 1, March 2012 - Special Issue on Cultural Translation

      • Iain Boyd Whyte, Editorial
      • Francesco Pellizzi, Art Historical and Anthropological Translation: Some Notes and Recollections
      • Z. S. Strother, Translator, Anarchist: The Power Dynamics of Translation in the Longue Durée
      • Susanne Baackmann, “From Benjamin to the Classroom? Notes on Translating Nina Petrick’s “Ein Sonntag” in the Classroom”, with a Preface by David Craven.
      • Deborah Stein, Translating the Year 1299: On Reading Hindi, Sanskrit, Persian, and Arabic in English
      • Claudia Heide, The Power of Translation in Mid-Nineteenth-Century Spain
      • Jeffrey Saletnik, John Cage and the Task of the Translator
      • Fiona Elliott, ‘Honor Thine Author’
      • Carlo Severi, ‘Primitivist Empathy’, translated by Ramon Fonkoue and Joyce Suechun Cheng from French (L’Empathie Primitiviste’, Re-vues, numéro hors-série, 2008) The translation of this essay was generously funded by the Department of Art History at the University of Oregon, with the support of the Head of Department, Andrew Schulz.

As volume 4. 1 went to press, the sad news was announced of the sudden and untimely death of David Craven. Preeminent as a radical art historian of twentieth-century Latin American art, he was a vigorous supporter of Art in Translation. Volume 4.1 is dedicated to his memory.

Volume 3 Issue 4, December 2011

      • Iain Boyd Whyte, Claudia Heide, Editorial: "Confronting the Object"
      • Frans Olbrechts, “The Integration of Art in the Culture of Primitive Peoples” translated from Dutch by Lee Preedy (“De integratie der kunst in de cultuur bij primitieven”, Gentsche Bijdragen tot de Kunstgeschiedenis, 1943, IX. See PDF)
      • Patricia Andrea Dosio, “Exchanging Glances: Art in the International Exhibitions in Argentina (1882-1910)”, translated from Spanish by Hilary Macartney (“El Juego de Miradas”, in Beatriz González Stephan y Jens Andermann (eds.). Galerías del progreso : museos, exposiciones y cultura visual en América Latina, Rosario: Beatriz Viterbio Editora, 2006)
      • Siegfried Kracauer, “A Turn in Art's Destiny” translated from German by Debbie Lewer (“Schicksalswende der Kunst”, Frankfurter Zeitung 18. August 1920, in Inka Mülder-Bach ed., Siegfried Kracauer. Schriften,vol. 5.1Aufsätze 1915-1926, Frankfurt a.M.: Suhrkamp Verlag 1990, pp. 72-78).
      • Raymonde Moulin, “The Genesis of the Rarity of Art”, translated from French by Jane Yeoman (“La Genèse de la rareté artistique”, Ethnologie Française, no 2-3, Mars-Septembre, 1978, pp.241-258)

Volume 3 Issue 3, September 2011

      • Iain Boyd Whyte, Claudia Heide, Editorial
      • Nikolay Vrangel, “The Russian Woman in Art”, translated from Russian by Jeremy Howard and Albina Ozieva (Venok Mertvym, 1913)
      • Max Imdahl, “At the Limit of Verbal Expression”, translated from German by Timothy Grundy (“Bis an die Grenzen des Aussagbaren”, in M. Sitt and H. Dilly (Eds.). Kunsthistoriker in eigener Sache: zehn autobiographische Skizzen. Berlin, D.Reimer, Suhrkamp Verlag, 1990)
      • Jiří Kroupa, “Three returns to Rumohr”, translated from Czech by Marta Filipova (‘Tři návraty k Rumohrovi’, Umeni, 2000/ XLVIII)

Volume 3 Issue 2, June 2011 - The View from the Left

      • Iain Boyd Whyte, Claudia Heide, Editorial: "The View from the Left"
      • Adolfo Sánchez Vásquez “Painting as Language” (Translated by Colleen Kattau from Spanish: “La pintura como lenguaje,” Nicaráuac, No. 10, August 1984)
      • Alberto Hijar, “Pablo O’Higgins and ‘The Producers of Everything’ ”, translated by David Craven from Spanish (first published in Pablo O’Higgins: Los productores de todo (Atizapan de Zaragoza, Mexico: Campus Estado de México, 2001.
      • Ranuccio Bianchi Bandinelli, "Plebeian Art", translated by Lucinda Byatt from Italian (‘Arte Plebea’, Dialoghi di Archeologia I, 1967, pp. 7-19)
      • Luciano Fabro, "Each Sense Has Its Image: Observations on the Lesson No. 4 Delivered by Florensky at Vkhutemas in 1923" (1995); translated from Italian by Riccardo Peloso and edited by Joseph Masheck (originally published in Arte torna arte: lezioni e conference 1981-1997 (Turin: Einaudi, 1999), 224-31).
      • Andrzej Szczerski, "The Decade of Luxury. The People’s Republic of Poland and Hotels in the 1970s", translated by Joanna Wolanska from Polish (first published in Ikonotheka, 2007, no 20, pp. 161-182)
      • Susanne Deicher, “Imaginary Practice: Ideology and Form in the unlived-in house of Peter Behrens on the Mathildenhöhe in Darmstadt”, translated from German by Iain Boyd Whyte (“Imaginäre Praxis: Ideologie und Form in Peter Behrens’ unbewohntem Haus auf der Darmstädter Mathildenhöhe’, in Annette Tietenberg (ed.), Das Kunstwerk als Geschichtsdokument, Festschrift für Hans-Ernst Mittig. Klinkhardt & Biermann Verlagsbuchhandlung, München, 1999)

Volume 3 Issue 1, March 2011

      • Iain Boyd Whyte, Editorial
      • Rainer Maria Rilke, "Concerning Landscape Painting", translated from German by Edward Neather (‘Einleitung’, Worpswede, 1903)
      • Bohumil Kubišta, "Towards Spiritual Essence of the Modern Age", translated by Marta Filipova from Czech (originally published in Ceská kultura2, 1913-1914)
      • Helmuth Plessner, "Rebirth of form in the technical age", translated from German by Jonathan Blower (‘Wiedergeburt der Form im technischen Zeitalter (1932)’, Politik --Anthropologie -- Philosophie: Aufsätze und Vorträge, edited by Salvatore Giammusso & Hans-Ulrich Lessing (Munich: Fink, 2001)
      • František Šmejkal, "Kurt Schwitters and Prague", translated by Marta Filipova from Czech (‘Kurt Schwitters a Praha’, Umení, 1986/ 34, No. 6)
      • Diana Beatriz Wechsler, "Cosmopolitanism, Cubism and New Art. Latin American Itineraries", translated from Spanish by Antonio Bautista (‘Cosmopolitismo, Cubismo y Arte Nuevo. Itinerarios Latinoamericanos’, El cubismo y sus entornos en las colecciones de la Fundación Telefónica, 2008)
      • Ticio Escobar, "Parallel Modernities. Notes on Artistic Modernity in the Southern Cone of Latin America: The Case of Paraguay", translated by Hilary Macartney from Spanish (‘Modernidades Paralelas. Notas sobre la modernidad artística en el cono sur: el caso paraguayo, El arte fuera de sí, 2004)

Volume 2 Issue 3, November 2010

      • Iain Boyd Whyte, Editorial
      • Volkmar Enderlein and Michael Meinecke, "Excavation -- Investigation -- Presentation. Problems of Representing Past Cultures in the Example of the Mshatta Façade’, translated from German by Jonathan Blower ("Graben, Forschen, Präsentieren. Probleme der Darstellung vergangener Kulturen am Beispiel der Mschatta-Fassade", Jahrbuch der Berliner Museen, Bd. 34, 1992)
      • Sarabhai Manilal Nawab. "The Art of Gujarat Patronized by the Jains and its History", translated by Babu Suthar and Nachiket Chanchani from Gujarati and Sanskrit (Jaina Citrakalpadruma, 1936)

Volume 2 Issue 2, July 2010 - Special Issue:   Art and Translation

      • Iain Boyd Whyte, Editorial
      • Peter France, "The Serva Padrona"
      • Lawrence Venuti, "Ekphrasis, Translation, Critique"
      • Clive Scott, "Intermediality and Synaesthesia: Literary Translation as Centrifugal Practice"
      • Ruth B. Phillips, " 'Dispel all Darkness': Material Translations and Cross-Cultural Communication in Seventeenth-Century North America"
      • Claudia Heide, "The Alhambra in Britain. Between Foreignization and Domestication"
      • Vojtech Lahoda, "Cubism Translated? Western Canon of Modernism and Central/Eastern European Art History"
      • Nachiket Chanchani, "Gandhi’s (In)fidelity: Some Reflections on Art Writing and Translation in Colonial India"

Volume 2 Issue 1, March 2010

      • Iain Boyd Whyte, Editorial
      • Günter Bandmann, "On the meaning of the Romanesque apse", translated by Claudia Heide from German ("Zur Bedeutung der romanischen Apse", Wallraf-Richartz Jahrbuch, 15, 1955, pp. 28-55).
      • Jorge Alberto Manrique, "Identity or Modernity?", translated by Tatiana Flores from Spanish ('Identidad o Modernidad' in America Latina en sus artes, ed. Damián Bayón, Paris, 1987)
      • Li, Qingquan, "Some Aspects of Time and Space as Seen in the Liao-dynasty Tombs in Xuanhua", translated by Fei Deng from Chinese ('Xuanhua Liao dai bihuamu zhong de shijian yu kongjian wenti', Zhongguo shi yanjiu, 34 Supplement, 2005, 77-106
      • Mudiji Malamba Gilombe, "A Study of the Forms and Symbolic Functions of Phende 'Mbuya' ", translated by Jane Yeoman from French ("Essence du masque mbuya à travers et au-delà de sa fonctionnalité immédiate", Le Langage des masques africains, 1989, chapter 8).
      • Prabhashankar O. Sompura and Madhusudan Dhaky, "A Temple for Ascending to Heaven", translated by Nachiket Chanchani and Deven Patel from Gujarati and Sanskrit ("Svargarohana Prasada" in Svadhyaya, vol. 5, no 2, Feb. 1968 pp.191-5)

Volume 1 Issue 3, Autumn 2009

The third issue of Art in Translation focuses on Architectural History.

      • Iain Boyd Whyte, Editorial
      • Ruth Verde Zein, "The Future of the Past or Contemporary Tendencies", translated by Richard Williams from Portuguese ("O Futuro do Passado, ou as Tendências Atuais", O Lugar da Crítica, São Paolo, 2003)
      • Stefan Germer, "The Italian Hope: Rationalist Architecture’s Role and Reception in Germany", translated by Jonathan Blower from German ("Die Italienische Hoffnung", Giuseppe Terragni, Moderne und Faschismus in Italien, Munich, 1991)
      • Guzik, Hubert, "The Diogenes Family. The Collectivization of Accommodation in Bohemia 1905-1948", translated by Marta Filipova from Czech (‘Diagenova rodina’, Umeni, Prague, 2006, LIV).

Volume 1 Issue 2, Summer 2009

This second issue includes seminal texts in the German art-historical tradition.

      • Iain Boyd Whyte, Editorial
      • Leo Frobenius, "Ancient and Recent African art", translated by Claudia Heide from German ("Alte und junge Afrikanische Kunst", Die Kunstwelt, 1912, vol. 2, number 2, pp. 97-114)
      • Kurt Lewin, "Landscape of War", translated by Jonathan Blower from German ("Kriegslandschaft" in Zeitschrift für angewandte Psychologie, 12, 1917, and republished by Dünne, J., & Günzel S., eds, Raumtheorie: Grundlagentexte aus Philosophie und Kulturwissenschaften, Frankfurt am Main, 2006, pp. 129-139)
      • Edgar Wind, "On the Systematics of Artistic Problems", translated by Fiona Elliott from German ("Zur Systematik der künstlerischen Probleme", Zeitschrift fur Aesthetik und allgemeine Kunstwissenschaft 18, 1925, pp. 439-486)
      • Angel Guido, "Introduction to Hispano-Inca Architecture according to Wölfflin", translated by Claudia Heide from Spanish (Arquitectura Hispanoincaica a través de Wölfflin, Rosario: Cruz del Sur, 1927, pp. 13-27)
      • Aby Warburg, "The Absorption of the Expressive Values of the Past", translated by Matthew Rampley from German (1928, republished in Mnemosyne Atlas, Berlin: Akademie Verlag, 2003)
      • Horst Bredekamp, "The Simulated Benjamin: Medieval Remarks on its Actuality", translated by Iain Boyd Whyte from German (‘Der simulierte Benjamin: Mittelalterliche Bemerkungen zu seiner Aktualität’, Frankfurter Schule und Kunstgeschichte, ed. Andreas Berndt et al., Berlin: Reimer, 1992.

 Volume 1 Issue 1, March 2009

      • Iain Boyd Whyte, Editorial
      • Enrico Castelnuovo and Carlo Ginzburg, Symbolic Domination and Artistic Geography in Italian Art History, translated by Maylis Curie from French ('Domination symbolique et géographie artistique dans l'histoire de l'art italien'. Actes de la recherche en sciences sociales, no. 40, November 1981)
      • Okamoto Tarô, On Jômon Ceramics, translated by Jonathan Reynolds from Japanese (Jômon doki ron’ in Mizue, February 1952)
      • Josef Strzygowski, Orient or Rome. The Porphyry-Groups at St. Marks, Venice, as Test Case, translated by Iain Boyd Whyte from German (‘Orient oder Rom. Stichprobe: Die Porphyrgruppen von S. Marco in Venedig’, C. F. Lehmann (ed.) Klio: Beiträg zur alten Geschichte, vol. 2, Leipzig: Dietrich’sche Verlagsbuchhandlung, 1902)
      • Nikolai Chuzhak, Under the sign of Life Building", translated by Christina Lodder from Russian (‘Pod znakom zhiznestroenia’ Lef, no.1, 1923)
      • Vladimir Markov, Negro Art, translated by Jeremy Howard from Russian (‘Iskusstvo Negrov’ in Negro Art, St Petersburg, 1919)
      • José Emilio Burucúa, Reflections on the Painting of Alejandro Puente, the Notion of Pathosformel and the Return to Life of Mortally Wounded Civilisations, translated by Hilary Macartney from Spanish (‘Reflexiones sobre la pintura de Alejandro Puente, la nocion de Pathosformel y la vuelta a la vida de civilizaciones heridas de muerte’, Historia y ambivalencia. Ensayos sobre arte, 2006)























Report this page

To report inappropriate content on this page, please use the form below. Upon receiving your report, we will be in touch as per the Take Down Policy of the service.

Please note that personal data collected through this form is used and stored for the purposes of processing this report and communication with you.

If you are unable to report a concern about content via this form please contact the Service Owner.

Please enter an email address you wish to be contacted on. Please describe the unacceptable content in sufficient detail to allow us to locate it, and why you consider it to be unacceptable.
By submitting this report, you accept that it is accurate and that fraudulent or nuisance complaints may result in action by the University.