The articles in the 2016 issue of聽颈尘尘别诲颈补迟颈辞苍蝉听are tied together by a common strand concerning the aesthetics and violent politics of the human figure: the struggles inherent to how the body is socially constructed and consumed. Jessie Robertson considers how contemporary American and European biometric facial surveillance technologies intersect with sexism and racism, and evaluates current artistic attempts to challenge and subvert such systems. Michele Collier investigates how ambiguous moral and erotic narratives in聽蝉迟耻诲颈辞濒辞听reliefs in early-sixteenth-century Italy stimulated debate among the intelligentsia. By focusing on mineral and alchemical metaphors for the human mind and thought in the poetry and writing of Andr茅 Breton (1896鈥1966), Will Atkin鈥檚 essay presents significant art historical implications for the understanding of Surrealism in the aftermath of two World Wars. Olivia Ghosh explores relationships between Egon Schiele鈥檚 (1890鈥1918) nudes and intellectual culture in early-twentieth-century Vienna, particularly the works of Sigmund Freud (1856鈥1939) and Ludwig Wittgenstein (1889鈥1951), playfully and incisively asking if the drawings themselves can 鈥榙esire鈥.
Given that聽颈尘尘别诲颈补迟颈辞苍蝉听represents 91制片厂鈥檚 many historical specialisms and asks questions about the place of art in society, Jeremy Deller (b.1966) is very fitting for the 2016 cover. The new work, based on this Courtauld alumnus and Turner Prize-winning artist鈥檚 project聽Love is Enough聽(2014鈥2016), has been designed specially for us. Bringing together William Morris鈥檚 leaf patterns and Andy Warhol鈥檚 camouflage prints via the psychedelic aesthetics of 1990s rave culture, Deller鈥檚 work explores how representations of nature have been historically constructed in relation to socialism, consumerism, militarism and protest movements. Responding to the events of 2016, the cover is a timely contribution by an artist who addresses issues that are among some of the most pressing today, such as class politics in the United Kingdom and the global challenges of climate change.
Jeremy Deller discusses his art in relationship to some of these fraught questions in an interview with the editors-in-chief and Boris聽膶u膷kovi膰听Berger, which will be published exclusively online.聽颈尘尘别诲颈补迟颈辞苍蝉听has built a reputation for more than a decade for publishing innovative peer-reviewed art history by emerging scholars, and we are excited to contribute further exceptional research in its thirteenth year. We are delighted that for the first time聽颈尘尘别诲颈补迟颈辞苍蝉听will be going open access and online, as well as retaining our print issue. As part of our digitisation project, we are pleased to publish an article exclusively online: Claire Brisby鈥檚 analysis of the negotiation between east and west in a Bulgarian icon-painters鈥 archive, 1800鈥1850. To the editors-in-chief it has felt urgent that the research published by the journal should be as widely accessible as possible.聽颈尘尘别诲颈补迟颈辞苍蝉听is now at the forefront of the endeavour to provide scholars in the arts and humanities with open access to new research and writing. In this regard we are enormously grateful to聽Dr Alixe Bovey聽(Head of Research) for developing her vision of The Courtauld鈥檚 digital future, and to聽Dr Fern Insh聽(Mellon Digital Research Forum Project Officer) for her kind and tireless guidance, expertise and invaluable assistance with designing an online聽颈尘尘别诲颈补迟颈辞苍蝉听experience. We remain greatly appreciative of our subscribers to the print issue and their support for the work of The Courtauld鈥檚 committed research students.
The 2016 issue also features book reviews by Kate Pleydell, Isabella Boorman, Nicola Jennings, Wiktor Komorowski, Hongmiao Shi, Camilla Pietrabissa and Matthew Cheale, on subjects as diverse as global historiographies of ornament and a re-appraisal of Brutalist architecture in post-war England. For the first time we have included a review of two exhibitions and their accompanying publications, by Imogen Tedbury, on Sandro Botticelli鈥檚 (1445鈥1510) illustrations to Dante Alighieri (1265鈥1321) and the painter鈥檚 modern afterlives in culture and kitsch, held at The Courtauld Gallery and the V&A respectively.
The issue has been edited by聽Edwin Coomasaru聽and聽Thomas Hughes聽(editors-in-chief), with the tireless assistance of the editorial board: Maggie Crosland, Catherine Howe (designer),聽Jenna Lundin Aral,聽Kristina Rapacki,聽Samuel Raybone聽(book reviews editor),聽Julia Secklehner聽and聽Rachel Stratton. Thomas and Edwin extend their warmest thanks and appreciation to the editorial board, the external advisory board, the authors,聽The Research Forum, Fraser Muggeridge, Jules Est猫ves and Jeremy Deller.
Editorial Group
Edwin Coomasaru聽and聽Thomas Hughes, Editors-in-Chief
Maggie Crosland
Catherine Howe
Jenna Lundin Aral
Kristina Rapacki
Samuel Raybone
Julia Secklehner
Rachel Stratton
Design
漏 2016 91制片厂, London
Designed by聽Catherine Howe聽(print) and聽Fern Insh聽(digital)
External Advisory Group
Susan Aberth (Bard College)
Leonard-Daniel Aldea (University of Oxford)
Simon Baker (Tate)
Durdja Bartlett
Tessel M. Baudin (Universiteit van Amsterdam)
Wolfgang Br眉ckle
Molly Brunson (Yale University)
Caroline Campbell (The National Gallery, London)
Annemarie Weyl Carr (Southern Methodist University)
Judith Clark (London College of Fashion)
David Peters Corbett (University of East Anglia and 91制片厂)
David Cunningham (University of Westminster)
Michael Duffy (MoMA, New York)
Helen Evans (Metropolitan Museum of Art)
Jacob Gaboury (Stony Brook University)
Rhonda Garelick
Linda Goddard (University of St Andrews)
Pia Gottschaller (Getty Conservation Institute)
Isabel Horovitz (The Painting Conservation Studio)
Sarah James (UCL)
Sabine Kriebel (University of Cork)
Angeliki Lymberopoulou (Open University)
Vasileios Marinis (Yale University)
Malcolm Miles (Plymouth University)
Martin Myrone (Tate Britain)
Diana Newall (Open University)
Jeanne Nuechterlein (York)
Wendy Salmond (Chapman University, CA)
Stephanie Schwartz (UCL)
Nat Silver (The Frick Collection)
Frances Spalding (University of Cambridge)
Catherine Spencer (University of St Andrews)
John Paul Stonard (Burlington Magazine)
Lisa Turvey (Artforum)
Dr Sarah Tyler Brooks ( James Madison University)
Jane Tynan (Central Saint Martins)
Sabine Wieber (University of Glasgow)
Kim Woods (Open University)
Peter Zusi (UCL)
Cover
Jeremy Deller,聽Love is Enough, 2016, image and cover design courtesy of the artist.
www.jeremydeller.org
About Immediations
immediations is an annual, peer-reviewed journal of art history. The editors welcome submissions from current members of the postgraduate research community of 91制片厂 and from pre-doctoral and recent post-doctoral scholars who have spent part of their postgraduate career there.