Welcome to the digital pages of Panorama, the first issue to appear with the participation of our newest executive editor, John Bowles, a specialist in African American art at the University of North Carolina at Chapel Hill. His first book, Adrian Piper: Race, Gender and Embodiment, was published by Duke University Press, and he is currently working on a second, with a provisional title—Globalization and African American Art: History and Transnational Dialogue. John was instrumental in working to ensure that this new issue would be particularly strong in its representation of African American art. In this regard, we would also like to thank Adrienne L. Childs and her co–guest editor, Jacqueline Francis, for their work in gathering together the marvelous suite of essays titled Riff: Black Artists and the European Canon.
Dell Upton is the guest editor for the Bully Pulpit included in this issue, in which he has followed up on the theme of his current book What Can and Can’t Be Said: Race, Uplift, and Monument Building in the Contemporary South (Yale University Press) by asking a team of individuals critically engaged with public art, memory, and the nation about the recent monument wars. We know you will want to read their thoughts.
Please enjoy our new selection of Research Notes, as well as a full roster of Book Reviews and a rich selection of reviews covering the recent series of Pacific Standard Time: LA/LA exhibitions. We note with sadness the recent death of artist Laura Aguilar. Charlene Villaseñor Black, who reviews Aguilar’s Pacific Standard Time exhibition for this issue, calls Aguilar “a major US Chicana photographer” because of the ways her work “draws attention to the politics of being a Chicana artist, a lesbian artist, a working-class artist, and a woman of size.”
Finally, we are delighted to announce several new additions to our editorial board. Diane Mullin of the Weisman Art Museum, University of Minnesota, has signed on as the newest Exhibition Reviews editor, promising to help focus more deeply on the display of modern and contemporary art in the United States. We also welcome Alan Wallach and Jessica Horton, who will be working with the rest of the team to promote the journal, diversify our study of art and visual culture, and steer us strategically into the future. Panorama would not be able to achieve its mission without the hard work of all these individuals.
We end this welcome note by reiterating our thanks to the Henry Luce Foundation for a major three-year grant supporting the journal. Luce funding supports the position of managing editor, provides professional development in art history and digital humanities, and funds subventions to help authors defray the cost of image reproduction fees. We are also pleased to thank the Wyeth Foundation for American Art for funds to support migration of our journal to a more stable digital platform. With this migration, Panorama will become the newest digital publication to be published by the University of Minnesota Libraries Publishing, with long-term archiving to ensure journal preservation in the future, improved database indexing, and enhanced technical support. Also be prepared for a refreshed visual appearance of the journal, as well as better navigation and an up-to-date online submission and editorial management system, in place by this time next year!
M. Elizabeth (Betsy) Boone
Cite this article: M. Elizabeth Boone, Lauren Lessing, and John Bowles, “Editors’ Welcome,” Panorama: Journal of the Association of Historians of American Art 4, no. 1 (Spring 2018), http://journalpanorama.org/editors-welcome-6.
PDF: Editors’ Welcome 4.1