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

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

A project of this nature is, of course, open to the charge of intellectual colonialism. In response, we would argue that in the colonial enterprise indigenous culture was at best ignored, or patronized, or marginalized, and a worst destroyed. The AIT project is working in exactly the other direction. It is locating important work from throughout the world and bringing it to the centre. The centre in this case is not a political but a linguistic constellation, namely the English language. We have no illusions about the imperialist and colonialist histories that have led to the global pre-eminence currently enjoyed by English as the dominant language of commerce and scholarship. We cannot rewrite history, however, and can merely attempt within our own, modest realm to work against the deleterious effects of these historical processes. Undeniably, however, this hegemonic condition prevails. AIT will bring attention and repute to texts that are undeservedly unknown both to the audience of native English speakers and to the even larger audience that has English as a second or third language. Editorial Structure Editor: Iain Boyd Whyte, Director of VARIE (Visual Arts Research Institute Edinburgh) and Professor of Architectural History, University of Edinburgh Zo Strother, Riggio Professor of African Art, Columbia University Dr. Claudia Heide, University of Edinburgh

Associate Editor: Managing Editor:

Additional clerical and secretarial assistance provided by the School of Arts, Culture and Environment, University of Edinburgh. The editorial offices of AIT are located in the School of Arts, Culture, and Environment in the University of Edinburgh, Scotland, and provided without cost by the University. All academic, selection, translation and issue compilation functions will be carried out there. Roles and Responsibilities There is a three-level editorial structure. Editors The Editor, Iain Boyd Whyte and Associate Editor, Zo Strother, with assistance from the Managing Editor, Claudia Heide, oversee the selection and translation of the texts, the securing of rights, and the preparation of texts and illustrations for publication. Editorial Board An Editorial Board comprising the Editors and six members meet once a year (in April) at the University of Edinburgh to consider the submissions of the Advisors and to select articles for translation. The Board might also group articles thematically, in order to produce themed issues of the journal. This grouping according to themes will be done retrospectively, i.e. after the texts have been accepted by the Editorial Board. As the principal aim of the project is to inject different ways of looking, thinking, and writing into the English-speaking discourse on art history, it would be both unwise and impossible to fix the thematic groupings before the texts have been identified and selected. 2

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

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

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 gographie artistique dans l'histoire de l'art italien'. Actes de la recherche en sciences sociales, no. 40, November 1981) Okamoto Tar, On Jmon Ceramics, translated by Jonathan Reynolds from Japanese (Jmon 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: Beitrg zur alten Geschichte, vol. 2, Leipzig: Dietrichsche 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) Jos Emilio Buruca, 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 The second issue focuses on the German tradition of art history.

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 fr angewandte Psychologie, 12, 1917, and republished by Dnne, J., & Gnzel 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 knstlerischen Probleme', Zeitschrift fur Aesthetik und allgemeine Kunstwissenschaft 18, 1925, pp. 439-486) Angel Guido, Introduction to Hispano-Inca Architecture according to Wlfflin, translated by Claudia Heide from Spanish (Arquitectura Hispanoincaica a travs de Wlfflin, 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 Aktualitt, Frankfurter Schule und Kunstgeschichte, ed. Andreas Berndt et al., Berlin: Reimer, 1992) Volume 1 Issue 3, Autumn 2009 - List of Articles The third issue of Art in Translation focuses specifically on Architecture and 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 Tendncias Atuais', O Lugar da Crtica, So Paolo, 2003) Stefan Germer, The Italian Hope: Rationalist Architectures 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

Gnter Bandmann, 'On the meaning of the Romanesque apse', translated by Claudia Heide from German ('Zur Bedeutung der romanischen Apse', WallfraffRichartz 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. Damin Bayn, 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 travers et au-del de sa fonctionnalit immdiate', 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 (proceedings of conference Art Writing: Translation, Adaptation and Modalities, Edinburgh, April 2009)

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' 6

Vojtech Lahoda, 'Cubism Translated? Western Canon of Modernism and Central/Eastern European Art History' Nachiket Chanchani, 'Gandhis (In)fidelity: Some Reflections on Art Writing and Translation in Colonial India'

Volume 2 Issue 3, November 2010

Volkmar Enderlein and Michael Meinecke, Excavation -- Investigation -Presentation. Problems of Representing Past Cultures in the Example of the Mshatta Faade, translated from German by Jonathan Blower (Graben, Forschen, Prsentieren. 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, February 2011 This issue focuses on the first third of the 20th century:

Rainer Maria Rilke, Concerning Landscape Painting, translated from German by Edward Neather (Einleitung, Worpswede, 1903) Bohumil Kubita, Towards Spiritual Essence of the Modern Age, translated by Marta Filipova from Czech (originally published in Cesk 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: Aufstze und Vortrge, edited by Salvatore Giammusso & Hans-Ulrich Lessing (Munich: Fink, 2001) Frantiek mejkal, Kurt Schwitters and Prague, translated by Marta Filipova from Czech (Kurt Schwitters a Praha, Umen, 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 Fundacin Telefnica, 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 artstica en el cono sur: el caso paraguayo, El arte fuera de s, 2004)

Edinburgh, January 2011.