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Selva: A Journal of the History of Art
Selva is an open access peer-reviewed journal of the history and historiography of art.

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The editors' introduction to our sixth issue delivers an articulation of the primal scene of postmodernism: the faceoff between experimental new practices and modernist critics in the New York of the 1960s. It was in the interest of both parties to emphasize their divergence – but in practice the battle lines were not always so clearly drawn. Chloë Julius and C. Oliver O'Donnell here outline the shape of the issue and its articles, which is divided into two sections entitled "Ends of Criticism" and "Beginnings of Art." Read it at selvajournal.org. by @selva_journal

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Issue 6: The Ends of Criticism. Out now at selvajournal.org.

New art, old criticism? The story of the New York art world in the 1960s might seem a familiar one: radical art practices (Happenings, Minimalism, Pop) shattered the modernist paradigm, forcing critics such as Clement Greenberg and Michael Fried into a rearguard war against the rising tide of "theatricality." With the emergence of the journal October by the end of the next decade, the page seemed to have been turned. But matters were not so clear-cut: when nobody knew yet exactly what postmodernism was, or even had a name for it, modernist sensibilities negotiated the new landscape in perhaps a more fluid way. Articles in this issue zero in on fascinating exchanges between critics and artists: Meyer Schapiro's with his former student Allan Kaprow; Barbara Rose's evidently reactionary shift from champion to enemy of the new art; Gregory Battcock's radical if ultimately sordid queer appropriation of Marcuse - and more.

Rounding out the issue is the journal's first exhibition review: Jennifer Nelson considers the fifteenth-century printmaker Israhel van Meckenem, arguing that he was, in effect, a media theorist.

All articles are open access. by @selva_journal

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Our next issue will be out soon. by @selva_journal

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Earlier this year we lost a friend and comrade. Selva was honored to publish Marina Vishmidt's review of Nizan Shaked's (@nizanshaked) book "Museums and Wealth: The Politics of Contemporary Art Collections" in our fifth issue. Since then, there has been an outpouring of tributes to Marina. Projects are underway both to collect her published work as well as to edit and present previously unpublished writings. We look forward to thinking with Marina for many years to come. by @selva_journal

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In our fifth issue's final research article, Megan A. Sullivan reconstructs the Social Theory of Art (teoría social del arte): a Marxist approach that emerged from South America in the late 1970s. Whereas colleagues in Europe and the United States focused on ideology as the key to a radical critique of art (and of bourgeois art history), Peruvian art critic Mirko Lauer and Argentine philosopher Néstor García Canclini instead asserted the primacy of material production relations - notably applying this perspective to an analysis of folk art. Read more at selvajournal.org. by @selva_journal

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Chances are you haven't thought much about the practice of art criticism in North Korea in the 1950s. Yet it existed, and there are interesting things to say about it, as Douglas Gabriel shows in his contribution to our fifth issue. While engaging in international artistic exchanges between socialist nations, North Korean writers on art were largely dependent on poor-quality reproductions that paradoxically generated exactly the effect of abstraction that they condemned in bourgeois Western modernism. Read it at selvajournal.org. by @selva_journal

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Dominant accounts of art in East Germany tend to pit a heroic underground against oppressive Socialist Realist orthodoxy. In her contribution to issue 5, April A. Eisman demonstrates that this divide was not always so sharp: there were many artists who developed experimental practices while remaining committed to the project of socialist construction. Eisman focuses on an officially-sanctioned exhibition that took place in Dresden in 1988 that attracted widespread positive attention in the East German media for its trenchant critique of environmental degradation - and despite its implicit references to the Stasi, symbolized by sculptures of security dogs. by @selva_journal

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When Peter H. Feist traveled to Munich in 1964, he faced a delicate task: to convince a Western audience of the seriousness of Marxist art history without falling afoul of East German cultural policy - and perhaps, in the process, gently to loosen that orthodoxy itself. In her contribution to issue 5, Katja Bernhardt situates Feist's lecture and the resulting publication in the context of debates (with quite real political consequences) over the autonomy of both art and scholarship just a few years after the construction of the Berlin Wall. Available to read at selvajournal.org. by @selva_journal

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In 1964, a young graduate student named Nicos Hadjinicolaou had the audacious idea of inviting one of East Germany's leading scholars to a conference on Marxist art history in Munich - still, at the time, the stronghold of arch-reactionary Hans Sedlmayr. In his contribution to our fifth issue, Hadjinicolaou reflects on this unprecedented event. Read it at selvajournal.org. by @selva_journal

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Our fifth issue is built around the first English translation of a landmark essay by the East German art historian Peter H. Feist. Based on a lecture he delivered in Munich in 1964, Feist's text is a uniquely revealing expression of the Marxist "science of art" as it was (or could have been) practiced in the socialist bloc. by @selva_journal

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In their introduction to our fifth issue, "East German Art History and Global Marxisms," editors Tamara Golan and Felix Jäger contextualize transnational socialist dialogs during the Cold War. At the core of this number of the journal is an unusuals event that casts a new light on intellectual exchange across the Iron Curtain. In 1964, one of East Germany's most important art historians, Peter H. Feist, traveled to Munich to attend a conference on Marxist art history. The lecture he delivered forms the basis of his "Principles and Methods of Art History," which appears in English for the first time in this issue of Selva. Read more at selvajournal.org. by @selva_journal

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Now out: Issue 5, "East German Art History and Global Marxisms," edited by Tamara Golan and Felix Jäger. Built around the first translation of an important methodological text by the Marxist art historian Peter H. Feist, this issue of the journal traces international socialist networks in art scholarship and criticism. Read more at selvajournal.org. by @selva_journal

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