www.agnoscisjournal.com

The second edition of the Agnoscis Journal is now available online with essays by Brett Richards, Charlie Watkins, Leeza Awojobi and Sarah White. Featuring art work by Magdalena Gluszak-Holeska.

The essays are:

The Quivering Ocean. On the Paintings of Magdalena Gluszak-Holeska, by Sarah White

Intimations on Truth as Embodied. A Poetic Conversation Between Carribean Archipelagic Thought and Christ's Incarnation, by Leeza Awojobi

The Sophiology of Bill Viola's Mary and Martyr's for St Paul's Cathedral, by Charlie Watkins

Finding A Visual Language, a conversation between Brett Richards, Jack Noutch and Sarah White

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If you are interested in submitting an essay for the third edition please read through the Submissions page on the website and contact sarah@morphearts.org.

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Agnoscis Journal has come from the friendship, practice, faith, discussion and disagreement of artists associated with Morphē Arts. The journal is an artist-led and practice-driven engagement with contemporary art, and the philosophical and sociological foundations upon which it is built: but with a particular attention to unmasking the latent theology within this arena.

This journal is particularly concerned with the theological, as it refers to the Christian tradition and experience of faith, and seeks to engage with current art practice and criticism. Without disregarding their intellectual significance, our focus is intentionally not on art history or art made within the church. We are intent on expanding the vocabularies (and methodologies) that underpin the interdisciplinary conceptual project we are undertaking.

Without defining the parameters of the writing too much, the journal will primarily publish critical writing about the specific practices of contemporary artists, alongside research-based experimental writing which seeks to unveil the theological within contemporary art theory and practice.

The journal is published within the context of Morphē Arts, but the writing does not necessarily reflect the position of this organisation. Rather, it exists as a platform for the research, thinking and exploration of the writers and artists involved, and for the conversations and disagreements which arise between them