The content of World Art will be broadly themed according to a number of generic categories, however, not every  category will necessarily appear in each issue of the journal and others may be added: 

Studies 

We look for original and creative contributions to world art studies. We are keen to see work thThe content of World Art will be broadly themed according to a number of generic categories, however, not every 

category will necessarily appear in each issue of the journal and others may be added: 

Studies 

We look for original and creative contributions to world art studies. We are keen to see work that examines issues in production, reception and interpretation of art; looks at contexts, localities and methods for study; or which reviews existing viewpoints and values and histories, but takes a fresh start from new perspectives. We favour comparative studies, the questioning of values from one culture to another, or from one period to another. We are looking for short contributions or longer considered essays in which opinions can be freely aired on issues of critical importance concerning cultural politics, migrations, colonialism, museology, archaeology discourses of display, religion, values, funding, power, heritage and patrimony, identity. 

Exploratory projects where critical interventions have been made across and between cultures, art-forms or media. 

Projects may feature archaeological, historical, anthropological, linguistic or geographical studies; they may be political, discursive, experimental, aiming for exchanges or appropriations of methodology or media between subject areas. Issues of cultural or linguistic translation will be pertinent and performances or performative situations may be described.  This category of content will also feature artistic or creative interventions by any arts practitioner in relation to different places or institutions. Interventions may be practical, theoretical or academic. 

Dialogues are about exchange, reflection, the balancing and sharing of alternative viewpoints. They may take the form of discussions between two or more people which have been worked up into a considered form. We expect dialogues to be crafted into a coherent set of arguments, interweaving points of view and we are interested in creative variations of this format. Sometimes when several contributions to the journal are offering to tackle related subjects, the editors will set up a dialogue. Also, the editors will be pleased to facilitate dialogues in subjects critical to world art, which can inform content for future issues. 

Issues alternate between those which are general in content and those which pursue specific themes. Subjects for themed volumes will be announced, as calls for papers, approximately three years in advance of publication. 

Art is a global phenomenon. Through art people remake themselves and their worlds, while commenting on their values and beliefs. Making, using and learning from artworks is fundamental to human social life and sensory engagement. 

In the context of the reassessment of the collecting, display and interpretation of cultures, the study of art as a global human activity challenges categories of mainstream and marginalised arts and allows new histories to emerge, highlighting different standpoints and disciplines. 

World Art encourages critical reflection at the intersections of theory, method and practice. It provides a forum for redefining the concept of art for scholars, students and practitioners, for rethinking artistic and interpretive categories and for addressing cultural translation of art practices, canons and discourses. It promotes innovative and comparative approaches for studying human creativity, past and present. 

World Art welcomes contributions which promote inter-cultural, inter-national, inter-practice or inter-disciplinary concerns. Submissions can take the form of articles or art-works, based on individual or collaborative research. Audio and video materials may be included to accompany the on-line version of the journal. 

Dr George Lau, Lecturer, Sainsbury Research Unit for the Arts of Africa, Oceania and the Americas, UK 

Dr Daniel Rycroft, Lecturer in the Arts and Cultures of Asia, School of World Art Studies, UK 

Dr Veronica Sekules, Head of Education and Research, Sainsbury Centre for Visual Arts, UK 

world art 

Copyright for images and content must be cleared as soon as publication has been agreed. 

All contributions are peer-reviewed under the guidance of the Editorial Advisory Board. 

Visit the journal’s website to find out more at: www.tandf.co.uk/journals/rwor 

For the inaugural issue, discuss this theme from the perspective of the past or the present in words and images 

through: 

o Research articles (5-8,000 words) 

o Visual essays (up to 15 images with commentary) 

o Shorter contributions, interventions and dialogues 

The editors welcome original contributions which:  

o challenge academic conventions 

o engage in scholarly excellence 

o privilege artistic creativity 

o promote dialogue