Title | Date | Reference | Authors | Call # | ISSN | ||
---|---|---|---|---|---|---|---|
Challenging Orientalism: new perspectives on perception and reception, an introduction | 2023 | World art 13 (1): 1-6 | H6 [WORLD-] | 2150-0908 | |||
Negotiating between East and West: the case of Russian Orientalism | 2023 | World art 13 (1): 7-28 | H6 [WORLD-] | 2150-0908 | |||
'Eternal convivencia': from Madrid's Painters of Africa to the School of Tetouan | 2023 | World art 13 (1): 29-61 | H6 [WORLD-] | 2150-0908 | |||
Charming snakes: taste as knowledge and the new narratives of Middle Eastern Orientalist collections | 2023 | World art 13 (1): 63-78 | H6 [WORLD-] | 2150-0908 | |||
The resurgence of a new Orientalism from the Middle East | 2023 | World art 13 (1): 79-99 | H6 [WORLD-] | 2150-0908 | |||
Passages to the Orient (1993): re-assessing the role of the 'Orient' as 'Avant-garde' during the rise of globalisation | 2023 | World art 13 (1): 101-24 | H6 [WORLD-] | 2150-0908 | |||
Developing Orientalism: negative/positive ecologies 'in the field' of the British Empire, c. 1850-1888 | 2023 | World art 13 (1): 125-45 | H6 [WORLD-] | 2150-0908 | |||
Art and environmental crisis: an introductory note | 2023 | World art 13 (2): 149-51 | H6 [WORLD-] | 2150-0908 | |||
Deforestation of the Brazilian Amazon: a photographic essay | 2023 | World art 13 (2): 153-62 | H6 [WORLD-] | 2150-0908 | |||
Reflections of a Baniwa artist | 2023 | World art 13 (2): 163-75 | H6 [WORLD-] | 2150-0908 | |||
'Genocide is climate change': a conversation about colonized California and Indigenous futurism | 2023 | World art 13 (2): 177-96 | H6 [WORLD-] | 2150-0908 | |||
Art and environmental communication in Bangladesh: perceptions of artists and environmentalists | 2023 | World art 13 (2): 197-219 | H6 [WORLD-] | 2150-0908 | |||
The work of art in the age of extractivism | 2023 | World art 13 (2): 221-44 | H6 [WORLD-] | 2150-0908 | |||
El patrimonio maya es la tierra (Maya heritage is the earth'): the work of contemporary Yucatec Maya artist Luis May Ku | 2023 | World art 13 (3): 245-70 | H6 [WORLD-] | 2150-0908 | |||
Framing the 'hanging garden' of Seoul - querying heritage transculturally. Jung Yeondoo re-stages (art) history in South Korea in 2009 | 2023 | World art 13 (3): 271-83 | H6 [WORLD-] | 2150-0908 | |||
Care and attunement in artistic collaboration: two cases in Hong Kong | 2023 | World art 13 (3): 285-302 | H6 [WORLD-] | 2150-0908 | |||
The art of orality: how the absence of writing shapes the character of tribal, 'primitive' art | 2023 | World art 13 (3): 303-24 | H6 [WORLD-] | 2150-0908 | |||
Coca-Cola in process of materialisation: a new materialist perspective on He Xiangyu's Cola project | 2023 | World art 13 (3): 325-48 | H6 [WORLD-] | 2150-0908 | |||
Envisioning the Eastern Bloc: Nordpolitik, sport and the visual arts at the 1988 Seoul Olympic Games | 2023 | World art 13 (3): 349-77 | H6 [WORLD-] | 2150-0908 | |||
Tang Chang - a reluctant 'outsider' of Thai modern art | 2022 | World art 12 (1): 1-23 | H6 [WORLD-] | 2150-0908 | |||
The intimate geographies of Anna Maria Maiolino | 2022 | World art 12 (1): 25-48 | H6 [WORLD-] | 2150-0908 | |||
Social media art and/or interactive art? Exhibitionist: PeeP Stream by Ye Funa and Bei Ou | 2022 | World art 12 (1): 49-66 | H6 [WORLD-] | 2150-0908 | |||
Enchantment in ancient Peru: Salinar period murals and architecture | 2022 | World art 12 (1): 67-94 | H6 [WORLD-] | 2150-0908 | |||
Virtual connectedness in times of crisis: Chinese online art exhibitions during the COVID-19 pandemic | 2022 | World art 12 (1): 95-118 | H6 [WORLD-] | 2150-0908 | |||
A visual legacy: William Crocker's ethnographic archive | 2022 | World art 12 (2): 119-45 | H6 [WORLD-] | 2150-0908 | |||
Mangliu on film: Wu Wenguang and the Beijing blind floaters | 2022 | World art 12 (2): 147-66 | H6 [WORLD-] | 2150-0908 | |||
Requiem for life: on pollution & pandemic | 2022 | World art 12 (2): 167-70 | H6 [WORLD-] | 2150-0908 | |||
The planet: a lament for environmentally engaged citizenship? | 2022 | World art 12 (2): 171-94 | H6 [WORLD-] | 2150-0908 | |||
From mechanism to organicism: thoughts on linear perspective and re-contextualizing contemporary Chinese art | 2022 | World art 12 (2): 195-211 | H6 [WORLD-] | 2150-0908 | |||
Bottled Ocean 2120: George Nuku, the Ocean, plastic and the role of artists in discussing climate | 2022 | World art 12 (3): 213-38 | H6 [WORLD-] | 2150-0908 | |||
Revitalization through art in three Chinese villages: Gejia, Chengyang, and Dingwang | 2022 | World art 12 (3): 239-68 | H6 [WORLD-] | 2150-0908 | |||
In dialogue with nails: Kuzgun Acar's Elegy to a modern man | 2022 | World art 12 (3): 269-86 | H6 [WORLD-] | 2150-0908 | |||
Signs of optimism, symptoms of hope. North and South Korean painting of the 1970s and 1980s. A case study | 2022 | World art 12 (3): 287-310 | H6 [WORLD-] | 2150-0908 | |||
Mo Bahc, the global artworker and the possibility of the network | 2022 | World art 12 (3): 311-37 | H6 [WORLD-] | 2150-0908 | |||
Bark painting of Arnhem Land, Australia: the Western reception 1960-1990 | 2021 | World art 11 (1): 1-39 | H6 [WORLD-] | 2150-0908 | |||
The (neo)concrete sculptures of Franz Weissmann: between heaven and earth | 2021 | World art 11 (1): 41-71 | H6 [WORLD-] | 2150-0908 | |||
Socially engaged art in postcolonial Japan: an alternative view of contemporary Japanese art | 2021 | World art 11 (1): 71-93 | H6 [WORLD-] | 2150-0908 | |||
Visualizing climate change: an exploratory study of the effectiveness of artistic information visualizations | 2021 | World art 11 (1): 95-119 | H6 [WORLD-] | 2150-0908 | |||
Vernacular images of childhood in the work of Lebohang Sithole | 2021 | World art 11 (2): 137-48 | H6 [WORLD-] | 2150-0908 | |||
Behind the shutter: disappearance and the postcolonial body in early Sinophone media art | 2021 | World art 11 (2): 177-200 | H6 [WORLD-] | 2150-0908 | |||
Visual style hermeneutics: from style to context | 2021 | World art 11 (2): 201-27 | H6 [WORLD-] | 2150-0908 | |||
Urban transition through Indonesian art: from the Generation of '66 to the Millennials | 2021 | World art 11 (2): 229-54 | H6 [WORLD-] | 2150-0908 | |||
Esoteric and exoteric vision in South Asian miniature painting | 2021 | World art 11 (3): 255-75 | H6 [WORLD-] | 2150-0908 | |||
Climate mobility and the pandemic: art-science lessons for societal resilience | 2021 | World art 11 (3): 277-87 | H6 [WORLD-] | 2150-0908 | |||
Brazilian artists in Magiciens de la Terre and the challenges of classifications | 2021 | World art 11 (3): 289-309 | H6 [WORLD-] | 2150-0908 | |||
An archaeologist of images: a conversation with Edouard Duval-Carrié and Anthony Bogues | 2021 | World art 11 (3): 311-33 | H6 [WORLD-] | 2150-0908 | |||
Art in circulation and translation | 2021 | World art 11 (3): 335-57 | H6 [WORLD-] | 2150-0908 | |||
Art, dreams and miracles: reflections and representations | 2020 | World art 10 (1): 1-5 | H6 [WORLD-] | 2150-0908 | |||
Embodying dreams and emotions in the streets of the San Francisco Bay area | 2020 | World art 10 (1): 7-24 | H6 [WORLD-] | 2150-0908 | |||
Dreamwork, art worlds and miracles in Malaysia | 2020 | World art 10 (1): 25-54 | H6 [WORLD-] | 2150-0908 |