Publications

Art in Translation is available online on Ingenta.

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)

Volume 1 Issue 2, Summer 2009

This second issue includes seminal works in the German art-historical tradition. Again, two more recent works have also been included:

• 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 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 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 2 Issue 2, July 2010 – Special Issue on 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 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 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 3 Issue 2, June 2011

• 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 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 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 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 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.

 

Forthcoming special issues:

• Chinese Art and Translation
• Art in the former GDR
• 20th-century Japanese Art, Architecture and Photography