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Art History Supplement

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Art History Supplement (Online edition: ISSN 2046-9225) is a bimonthly scholarly e-journal; publishing material dealing with all historical periods and methodologies within the field of art history.

Art History Supplement has been a free, full text online, e-journal since 2011, published by Art Histories Society.

Art History Supplement is indexed by EBSCOhost, ARTbibliographies Modern (ABM) & by Elektronische Zeitschriften. Also available through Internet Archive, Google Play and Google Books.

 You may find all previous issues here




Editorial lines


1. An art historian needs to be art-proof as bullet-proof. Art is a proof of human activity and mind in a specific time, place and community. Art history works the same way as art works above. In addition, art is primarily nothing more than certain materials assembled in a certain way and embodied with certain meanings corresponding to a certain culture over time.

2. Sharing knowledge should be regarded as affiliation and prejudice free for a better and an easier growth and expansion of all disciplines. "Affiliations" can sometimes hinder the progression of an idea or project and finally of the discipline one serves.

3. Internet is here, in academia, to make our lives much easier. It could also save you a whole lot of money in travel expenses, when otherwise you should have to travel miles and miles just to consult only one single leaf in a museum or library. The Benjamin's aura thing of an artwork is something of utmost desire and definitely indispensable. But what happens when both time and money are in shortage? Electronic catalogues, services and applications of museums, libraries, research centres or institutes can at least compensate you to a great extent.

4. All voices (old and new whispers) have the right to be heard, independent or not, affiliated or not. One bright man had once said that if we wanted to write the history of a magazine or a journal, we should thoroughly study not only (the editor and) the published articles but also the ones which hadn't been that lucky to get published.

5. What happens in case there are no archives near you or one has no access to any? Re-evaluation of sources and/or methods? What happens if the "End" has already arrived? But, is there an "End," at all? Would that mean that people could lose their jobs? A shift in methodology (not in career) seems more appropriate.

6. There is no place on earth with just a single art history. More, there is no art history paper in the globe, which could possibly represent more than one art history at a time. Further, there is always a person behind a name; not to mention behind an art history.

7. Art history even could be a collective or personal art history; more it could certainly be described and clearly defined either as written, with the notion of academic, or as public or oral art history. Furthermore, once there had been solely history of art, then it became art history. Art criticism, as genre with no particular form, personal art histories and art documentaries, among others, are in the spectrum of oral and public art history.

8. And when one has finally approached the way one's contemporary public(s) approach the different arts, in our case visual, one should try to figure out why a certain public believe what they believe. More, all the databases formed in order to accommodate such research projects could prove to be an invaluable source for the present but also in principal for the future art historian. The number of voices from upper, lower, working, farming and marginal cultures, for instance, which could be saved that way, could be astonishing. All user generated content projects are promoted towards this direction. 

9. Articles, interviews, letters, working notes and reviews of current books and exhibitions are eligible to its content. Re-evaluations, re-considerations, new approaches and new perspectives to art history and theory are strongly encouraged.

10. In addition, Art History Supplement encourages experimental publications with a multi/inter-disciplinary character. Such an examination of art is certainly not something new, but what happens when art history meets religion, linguistics, semiotics, ESL, classical languages and studies, computer science, health and natural sciences, music, film studies, translation studies, museology, and social sciences, among others, or once more the science of history of literature and literature itself?

-The editor