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Editorial Statement for volume six of Contemporaneity: Historical Presence in Visual Culture.

The work of artist Rosabel Rosalind Kurth-Sofer is, in essence, both destructive and constructive. It seeks to destroy the symbols of an historical antisemitic oppression while simultaneously allowing the artist to examine and construct new meanings for her own Jewish identity. Throughout the long history of Jews in Europe, antisemitic imagery has relied on representations of the Jew to define the self in opposition to the “Other” while reinforcing systems of oppression built on this process of othering. Caricatures and archetypes of the Jewish subject solidified this mythology in the collective consciousness of European Christians, such that antisemitism became ubiquitous and banal while still retaining its sinister implications. Through her series of drawings, titled Exodus, which enlists the very images of antisemitism that she seeks to reject, Kurth-Sofer engages in the history of Western European antisemitism by questioning what it means to be a Jew today and contesting this persistent semiotic mythology. In doing so, her work strips antisemitic imagery of any potential historical legitimacy so that it may be recognized as a system of hatred and oppression that can and should be dismantled. An interview with the artist is presented.

Daniel Pabst’s architectural photography often highlights the tension between site-specificity and the legacy of early twentieth-century international style. In photographs of diverse sites across the globe, such as Dallas, Texas, St. Petersburg, Russia, and Vienna, Austria, Pabst draws attention to the formal qualities of such architecture hailed for its ability to communicate internationally but inherently tied to particular locations—as reflected in Pabst’s titular conventions. As such, his photographs of buildings, whose functions range from public offices to private residences, and everything between, reveal moments where placeless meets place.

Daniel Pabst’s architectural photography often highlights the tension between site-specificity and the legacy of early twentieth-century international style. In photographs of diverse sites across the globe, such as Dallas, Texas, St. Petersburg, Russia, and Vienna, Austria, Pabst draws attention to the formal qualities of such architecture hailed for its ability to communicate internationally but inherently tied to particular locations—as reflected in Pabst’s titular conventions. As such, his photographs of buildings, whose functions range from public offices to private residences, and everything between, reveal moments where placeless meets place.

Daniel Pabst’s architectural photography often highlights the tension between site-specificity and the legacy of early twentieth-century international style. In photographs of diverse sites across the globe, such as Dallas, Texas, St. Petersburg, Russia, and Vienna, Austria, Pabst draws attention to the formal qualities of such architecture hailed for its ability to communicate internationally but inherently tied to particular locations—as reflected in Pabst’s titular conventions. As such, his photographs of buildings, whose functions range from public offices to private residences, and everything between, reveal moments where placeless meets place.