ARS (São Paulo)
Brief Background
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About the Journal Ars Journal is a publication of the Graduate Program in Visual Arts of the School of Communications and Arts (ECA) of the University of São Paulo (USP). It assembles relevant works for the arts debate promoted inside and outside the university. With a wide focus on approaching a comprehensive range of issues – as the contemporary art production itself demands –, it aims to contribute to the cultural debate outside the barriers of the university and to question perspectives of art in the contemporary context. At the same time, it values the theoretical contribution of more traditional disciplines such as philosophy, aesthetics and art history – although it is often a question of confronting or pointing out the limits of this tradition in face of contemporary challenges. Ars focus on running, alongside the works of artists, critics, art historians and graduate students of ECA’s Department of Visual Arts, collaborations of researchers, artists, intellectuals and other professionals in the artistic field, favoring experimentation and theoretical specialized research. Journal History The launching of Ars was preceded by an intense discussion and activities related to the organization of the project, which have been developed since 2002. At the time, the idea of creating a journal was motivated by the realization of an alarming gap of magazines specialized in arts and human sciences in the country that were capable of stimulating intellectual discussions in especially favorable conditions due to its exemption from the interests of a commercial publication. Ars arose from the desire of contributing to the contemporary art debate, since the issues involving art schools should not remain restricted to the academic environment, but go beyond the barriers of the University and question perspectives of art in the contemporary context. Thus, since its first editions, the journal aims to contribute to create a criticism culture in the Brazilian artistic field, encouraging the work of new generations of researchers and preparing them to intervene in public cultural life. The first issue of Ars was released in March 2003. Until 2015, it was published every six months by professors Gilberto Prado, Sônia Salzstein, Marco Giannotti, and graphic design by professor Mario Ramiro. From 2017 to 2023, the journal became a four-month publication of the Graduate Program in Visual Arts of ECA-USP. In 2024, in view of the new guidelines of the indexers, ARS began to adopt the continuous publication model and to launch a single annual volume, bringing together unpublished articles, visual essays and translations. |
Open Access
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This journal provides open access to its content, allowing unrestricted virtual access (including financial restrictions) to all scientific texts published by the Ars journal. Open access is the condition in which the copyright holder of an academic work grants usage rights to third parties using an open license ( Creative Commons Attribution , CC-BY ), allowing immediate free access to the work and authorizing any user to read, download, copy, distribute, print, search or link to the full texts of the articles, track them for indexing, pass them as data to software or use them for any other lawful purpose. |
Open Science Compliance
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This journal follows the Gold Open Access model . |
Ethics in Publication
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The ARS Journal adopts the guidelines of the Committee on Publication Ethics ( COPE ), the Code of Good Scientific Practices of Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), and the SciELO Guide to Good Practices for Strengthening Ethics in Scientific Publication as references to implementing best scientific practices in all stages of work, from the submission of articles to its publication. |
Focus and Scope
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According to its editorial policy, Ars prioritizes original and unpublished material, so that 80% of the articles and visual essays specially designed for the journal come from new academic and artistic research, developed within graduate courses. In addition to unpublished texts, it is also part of our editorial policy to periodically republish essential texts of art history, theory, and criticism, which were published a long time ago, in order to retrieve relevant bibliographical research sources for our undergraduate and graduate level programs. As an academic initiative from a school of arts, the journal is open to discuss not only the academic background of students who want to become artists, professors, educators, or scholars, but also the experience of creating and reflecting with broad points of view in the globalized environment of contemporary culture. Ars’ editorial mission is to: 1) encourage Brazilian artistic and cultural production in general; 2) provide Brazilian and foreign artists, art professors and teachers, and researchers at the beginning of their careers or well-experienced researchers a privileged place for discussion and exchange of knowledge; 3) be an instance of criticism and mutual reinforcement for the academic, cultural, and artistic environment, favoring a purposeful presence of the University in the Brazilian society; 4) achieve academic excellence in artistic, cultural, and scientific research; 5) encourage the dialogue of visual arts with other cultural and scientific production areas; and 6) create a public of readers in the specialized area of art and culture, a public that is still incipient in Brazil. In accordance with the editorial scope of the journal, ARS prioritizes articles that unequivocally contribute to the debate on contemporary art and culture, history, theory and art criticism, as well as other related subjects. When contemplated, articles must clearly keep as a dialogue horizon the visual arts, which are the primary focus of the journal -- the publication of texts strictly from other knowledge areas, such as cinema, theatre, literature, among others, is at the exclusive discretion of the editorial board. |
Digital Preservation
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This journal follows the standards defined in the Política de Preservação Digital do Programa SciELO. |
Indexing Sources
Bibliographic Journal Information
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Websites and Social Media
Preprints
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The journal accepts the submission of manuscripts previously deposited on the SciELO Preprints server. Acceptance of preprints from other servers will be reviewed by the journal's editors. |
Peer Review Process
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Open Data
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Manuscripts must be accompanied by a statement of availability of the data used and generated in the research underlying the texts. |
Fees
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The Ars Journal does not charge any fees for the submission, evaluation, and/or publication of articles. |
Ethics and Misconduct, Correction and Retraction Policy
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The Ars Journal does not charge any fees for the submission, evaluation, and/or publication of articles. |
Policy on Conflict of Interest
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Conflicts of interest can be personal, commercial, political, academic, or financial in nature. Conflicts of interest can occur when authors, reviewers, or editors have interests that may influence the preparation or evaluation of manuscripts. When submitting a manuscript, authors are responsible for acknowledging and disclosing any financial or other conflicts of interest that may have influenced the work. If there is a conflict of interest, even potential, the author(s) must disclose it in a separate, signed document attached to the submission platform. For additional information, access: Disclosure of Financial and Non-Financial Relationships and Activities, and Conflicts of Interest . |
Adoption of Similarity Software
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As a means of reinforcing the ethical principles that conduct our process of evaluation and publishing, Ars employs the anti-plagiarism resources and tools available to the scientific community at USP, such as iThenticate. Suspicions or accusations of plagiarism will be investigated by the editorial team. If confirmed, one of the following actions will be taken: for articles still in the process of evaluation, the editorial process will be suspended; for already published articles, a retraction note will be released. |
Adoption of Software Using Artificial Intelligence Resources
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In accordance with the 2024 COPE (Committee on Publication Ethics) statement, ARS Journal declares that AI tools cannot meet the requirements for authorship; they cannot assert the presence or absence of conflicts of interest; nor manage copyright and license agreements. Authors are fully responsible for the content of their manuscript, and are thus liable for any breach of publication ethics adopted by this Journal. For more information, see the: Guia de uso de ferramentas e recursos de Inteligência Artificial in research communication on the SciELO Network. |
Gender and Sex Issues
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The editorial staff of the journal Ars, as well as the authors who publish in the journal, must always observe the guidelines on Sex and Gender Equity in Research ( Sex andGenderEquity in Research – SAGER ). The SAGER guidelines comprise a set of instructions that guide the reporting of sex and gender information in study design, data analysis, and the interpretation of findings. Furthermore, Ars observes a policy of gender equity in the formation of its editorial board. |
Ethics Committee
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Authors must attach a statement of approval from the institution's ethics committee responsible for approving the research |
Copyright
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The authors retain copyright and grant the journal the right of first publication, with the work licensed under a Creative Commons Attribution BY 4.0 license . After publication, the authors retain copyright and republication rights to the text. |
Intellectual Property and Terms of Use
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Website responsibility: The content of the submissions is the sole responsibility of the authors, as is obtaining written permission to use copyrighted material in their articles. Authors ethical principles All content submitted is of exclusive responsibility of the author, as is obtaining written permission to use copyright-protected materials in their articles. Articles submitted with multiple authorship will be evaluated with the understanding that all listed authors agree with the submission and that the final version of the article has been approved by all co-authors. All content in the journal and articles published by Ars, except where otherwise specified, are licensed under the Creative Commons Attribution license CC-BY . Authors of articles published by Ars retain copyright to their work, licensing it under the Creative Commons Attribution license , which allows articles to be reused and distributed without restriction, provided the original work is properly cited. |
Sponsors and Promotion Agencies
Editor-in-Chief
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Executive Editors
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Associate Editor
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Assistant Editor
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Editorial Committee
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Technical Team
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Editorial Assistance
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Types of Documents Accepted
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Manuscripts in Portuguese, English, Spanish, and French are accepted for submission and publication in the following categories:
Ars accepts the submission of preprints from the SciELOPreprints server. Acceptance of preprints from other servers will be reviewed by the journal's editors. |
Authors' Contribution
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In the case of articles with multiple authors, only those who performed all of the following functions may be listed as co-authors: substantial contribution to the conception or elaboration of the article, writing of the initial draft or content review of the final version, and approval of the submitted version. All co-authors assume responsibility for the data and information in the article. Supervisors, when they do not fulfill the functions defined above, should not be listed as co-authors. Multiple submissions from the same author or of the same article will not be forwarded for evaluation. It is the author's responsibility to ensure that only one submission is active in the system at a time. |
Manuscript Preparation
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INSTRUCTIONS FOR AUTHORS
Types of documents accepted Manuscripts in Portuguese, English, Spanish, and French are accepted for submission and publication in the following categories:
The journal Ars accepts preprint submissions from the SciELOPreprints server. Acceptance of preprints from other servers will be reviewed by the journal's editors. Authors' Contribution In the case of articles with multiple authors, only those who performed all of the following functions may be listed as co-authors: substantial contribution to the conception or elaboration of the article, writing of the initial draft or content review of the final version, and approval of the submitted version. All co-authors assume responsibility for the data and information in the article. Supervisors, when they do not fulfill the functions defined above, should not be listed as co-authors. Multiple submissions from the same author or of the same article will not be forwarded for evaluation. It is the author's responsibility to ensure that only one submission is active in the system at a time. Manuscript Preparation
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Article Submission Format
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Guidelines for standardizing texts I. GENERAL ELEMENTS OF THE TEXT Required elements for manuscript submission:
Formatting Articles, translations, and essays should be submitted in MS Word (.doc) or OpenOffice format using Times New Roman font, size 12. Paragraphs should be justified with 1.5 line spacing. Pages should be A4 size, with top and bottom margins of 2.5 cm, and side margins of 3 cm. The text can be accompanied by up to 10 images, preferably in color, with a resolution of 300 dpi, saved in jpeg or tiff format (vertical image: 24 x 18 cm; horizontal image: 24 x 36 cm). No author identification should be included in the document, given the blind peer review process. Standardization 1. Articles should be between 4,000 and 10,000 words; 2. Translations must be no longer than 9,000 words. They must also be accompanied by written permission from the author and the original text. 3. The title should be indicated in the heading of the texts without any mention of authorship, given the blind peer review process. 4. All authorship and institution/affiliation information (Department, Faculty, and University where you teach or are pursuing postgraduate studies) must be entered only in the "authorship/metadata" field of the OJS system and must not exceed 120 words. 5. The texts must be accompanied by: a) Title, with its respective version in English and Spanish. In Portuguese and Spanish, it is recommended that titles be capitalized only at the beginning of the first word and proper nouns. In English, except for articles, prepositions, and conjunctions, all other words should be capitalized. b) Abstract, with a maximum of 120 words, summarizing the purposes, methods, and conclusions of the text, accompanied by its respective version in English (abstract) and Spanish (resumen). c) Keywords, a minimum of 3 and a maximum of 5, separated by semicolons, that identify the content of the article, with their respective versions in English (keywords) and Spanish (palabras-clave).
6. Footnotes should be indicated by Arabic numerals in ascending order and should be inserted after punctuation marks, as in the following example. They should be used to indicate additional and essential references, author comments, and citations of materials such as personal communications, lecture notes, and unpublished conference papers, for example. It is recommended that they be relatively short, depending on the journal's layout. 7. Digits and numerals between 0 and 10 should be written out in full (e.g.: zero, one…). From 10 onwards, use numerals. 8. Terms in languages other than the language of the text should be italicized. However, foreign words that represent a proper noun – titles of exhibitions, institutions, etc. – should not be italicized. 9. Titles of works and books should be written with only the initial letter of the first word capitalized, except for proper nouns. In the body of the text, titles should appear in italics. In English, all words, except articles, prepositions, and conjunctions, should be capitalized. Other criteria: confrontations with 20th-century art; The difficult form: essays on Brazilian art; History of art in Brazil; Blaise Cendrars in Brazil and the modernists. Painters and Public Life in Eighteenth-Century France; Farewell to an Idea: Episodes from a History of Modernism.
a) Titles of newspapers, magazines, and serial works receive capital letters in all words, except for prepositions, when this is the spelling adopted by the publication. Like books, they should appear in italics: b) For academic journals, the word "journal" should only be used when the name disappears without it. When there is a name independent of the publishing institution, the use of the word is not necessary. Titles should appear in italics: USP Magazine; IEB Magazine; Book Magazine. Ars; Modes; Magma; Literature and Society; New Studies Cebrap. c) Any reference to a part of a work (chapter, book section, film episode, magazine essay, newspaper article, dictionary entry, etc.) should be cited in quotation marks, without italics, and in lowercase (except for proper nouns or when capitalization is an editorial choice – for example, History of Art): "Manet's Craft" (book chapter); "Cinema Novo Facing Conservative Modernization" (book section); "The Difficult History of Brazilian Art" (newspaper article); "Counterpoint" (entry). d) When foreign works (books, films, music, poetry, poems, works of art, etc.) are mentioned in the text, it is recommended to use the title only in Portuguese, if there is a well-established Brazilian version. Otherwise, a suggested title should be provided next to the first occurrence: The capital; Grundrisse der Kritik der politischen Ökonomie [Fundamental elements for the critique of political economy]. |
Digital Assets
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Image formatting 1. Images must be in jpeg, tiff, or png format and have a resolution of 300 dpi (approximate dimensions of 17 x 24 cm, aspect ratio may vary depending on the image). 2. Authors must provide image captions and indicate, in parentheses, the position where the figures should appear in the body of the text (figure X). Image captions included throughout the text should follow this pattern: Figure (number in ascending order). First name, last name, title in italics, year. Technique, dimensions in cm. Collection/Source (name of museum, collection, book, etc., if any), city (if any). 3. The magazine is not responsible for obtaining copyright for images. 4. Authors must provide any images they wish to include in their texts. 5. The magazine reserves the right not to publish images that are not of sufficient quality for their proper dissemination. 6. All images, following the specifications indicated above, must be attached at the time of submission under the “Other” tab on the OJS platform. |
Citations and References
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I. CITATIONS AND REFERENCES IN THE BODY OF THE TEXT 1. Quotations of up to three lines should be enclosed in quotation marks and included in the body of the text. Interventions made within the quotations (introduction of terms and explanations) should be placed in square brackets. Omissions of parts of the quotation may be indicated by ellipses in parentheses. “[The adoration of the popular in Brazilian art] was justified as being the preservation of national values (...). Consequently, national popular art opts for a kind of mimicry of the popular in the sense of wanting to express itself like it.” (Zilio, 1982, p. 39). 2. Quotations longer than three lines should be indented 4 cm from the left margin, without quotation marks, in size 10 font. The line spacing for the quotation should be single; between the text and the quotation, use 6 cm spacing (before the quotation) and 12 cm spacing (after the quotation). 3. All bibliographic references mentioned throughout the text must be indicated according to the author-date system immediately after the citation or the author's name:
a) If the author's name appears before the quotation, the information should appear next to the name: When discussing Jasper Johns' paintings, Leo Steinberg (2008, p. 69) says that "the objects he incorporates into his paintings are those that are equally uninteresting to the beggar and the millionaire." b) After a quotation, the author's last name(s), year of publication, and page number of the quotation should be presented in parentheses. The author's last name should have only the first letter capitalized, and the page number(s) preceded by p. (in the case of a single page or a range): (Amaral, 1998, p. 13) We must consider that the objects that Johns “incorporates into his paintings are those that are equally uninteresting to the beggar and to the millionaire” (Steinberg, 2008, p. 69). c) If there is more than one author, both should be cited, linked by a semicolon: (Ferreira; Cotrim, 2006, pp. 176-177) c) Even if the surname is clearly a compound expression, such as Sales Gomes, Almeida Prado, Buarque de Holanda, only the last one should be indicated: Gomes, Prado, Holanda. d) When citing works by different authors, they should be separated by a semicolon within parentheses: This subject has been addressed by renowned authors (Candido, 1993; Kayser, 1976; Rosenfeld, 1985). d) If there are two works by the same author with the same date (published in the same year), confusion should be avoided by indicating each edition with a lowercase letter. The assignment of letters should follow the order in which each reference appears in the bibliography (the one that appears first receives the letter 'a', the second, the letter 'b', and so on). In the bibliography at the end, the titles should also have the corresponding letter indicated: (Rosenfeld, 1985a, p. 45), (Rosenfeld, 1985b, p. 101). (e) In the case of paraphrased passages, and not quoted verbatim, in the body of the text, the bibliographic reference should be introduced by "cf.": When discussing Jasper Johns' paintings, Leo Steinberg says that the objects incorporated into his canvases are uninteresting from a class perspective (cf. Steinberg, 2008, p. 69). f) When quoting a passage from an author that was not directly consulted, but based on its mention in another work, the expression “apud” (in lowercase and without italics) should be used, a Latin expression equivalent to “referred to by”, “cited by”: Worringer's interest in abstraction and so-called primitive art coincided, as he himself stated, "with the predisposition of an entire period to fundamentally reorient its standards of aesthetic value" (quoted in Arnheim, 2004, p. 53). (g) If a work is cited more than once in succession, the citation should be repeated according to the author-date system: With this teacher, who, according to Marta R. Batista, is a "painter now totally forgotten" (Batista, 2006, p. 56), the São Paulo artist began to learn "the secret of color composition" (Batista, 2006, p. 57). h) When quotation marks are used in quotations longer than three lines, they should be replaced with single quotation marks: Can an imposed, and therefore artificial, culture, transplanted by order of the colonizer, 'take root' in a poor land unprepared to receive it, with its unresolved social and human problems, and could this culture bear fruit like a 'seedling that takes root from a branch'? (Amaral, 2013, p. 162) i) If a quotation includes an expression in italics, it is not necessary to state that the emphasis is the author's; however, if the author of the article wishes to italicize one or more expressions, they should indicate this fact. (Xavier, 2014, p. 57, emphasis added). j) In cases where the quoted passage is translated by the author of the article, this fact should be indicated at the end of the parentheses: (Diderot, 2008, p. 95, my translation). Alternatively, the author may also insert a footnote, after the first translation they authored, stating: “Except where indicated, all translations are by the author of this article.” k) In the case of a long quotation (longer than three lines), the bibliographic reference should come at the end of the quotation, after the period, as it is understood that the period refers to the quoted text: The history of ancient art that I have proposed to write is not a mere chronicle of eras and the transformations that it underwent, since I take the word history in the broadest sense it has in the Greek language, and it is my intention to present a system. (Winckelmann, 1972, p. 104) If the quoted passage is introduced by a text/paraphrase, either in the body of the text or in the footnotes, the punctuation comes after the reference, as it is understood that the reference refers not to the quotation, but to the text as a whole: As Winckelmann (1972, p. 104) states regarding his historiographical method, "I take the word history in the broadest sense it has in the Greek language, and it is my intention to present a system." l) A work mentioned should only include bibliographic references if it is actually cited; simply mentioning the work does not require any information, unless, for example, the author wishes to record the year of the first edition. m) When the quotation is taken from a document deposited in an archive that will not be cited in the bibliography, the reference in the footnote is sufficient; it is not necessary to include it in the body of the text. 4. All references cited throughout the text must be compiled and presented at the end of the article, under the heading "References," and must follow the model specified in item III. Complementary works that may not have been cited throughout the text should be included at the end of the file under the heading "Complementary References." II. BIBLIOGRAPHICAL REFERENCES References should be organized using the alphabetical system. The complete citation of the work should include the following information: author's last name (in uppercase) and first name; title of part of the work (chapter, for example, when applicable); title of the work; editor (if any); translator (optional, if any); edition number; city; publishing house; year; page numbers (if a part of the work is cited). Any additional information should only appear if it is relevant to the context. 1. When citing two works by the same author, the author's full name should appear both times (not with a dash in place of the name), in descending chronological order. If there is a coincidence regarding the year of publication of texts by the same author, the letters of the alphabet should be used in ascending order, after the year of publication (see item 3.d. of the previous topic). 2. Leave a line space between cited works.
3. In works with a title and subtitle, the title should be in bold and separated from the subtitle by a colon: 4. Bibliographic references in foreign languages follow the same rules described. 5. When the work does not provide certain edition information, note it with abbreviations in square brackets: [sl] no place of publication; [se] no publisher; [sd] no date; [sp] no page. 6. Citation format:
a) Books: LAST NAME, First Name. Book title in bold. Edition. City: Publisher, year. i) Book with editor: FERREIRA, Glória (org.). Brazil: Figuration vs. Abstraction in the late 1940s. São Paulo: Instituto de Arte Contemporânea - IAC, 2013. ii) Book with two authors: DELEUZE, Gilles; GUATTARI, Félix. Anti-Oedipus / trans. Luiz BL Orlandi. São Paulo, Editora 34, 2011. iii) Book with three or more authors: CONDURU, Roberto et al. (org.). Encounters with contemporary art. Vila Velha: Museu Vale, 2017. iv) Book with title and subtitle: SCHWARCZ, Lilia Moritz. The Sun of Brazil: Nicolas-Antoine Taunay and the Misadventures of French Artists at the Court of Dom João. São Paulo: Companhia das Letras, 2008. b) Book chapters: LAST NAME, First Name. Chapter Title. In LAST NAME, First Name (of the editor of the work; if it is the same author as the chapter, omit the author reference and proceed directly to the title of the work, preceded by “In”). Book Title in bold. City: Publisher, year, pp. 0-0. CLARK, TJ We Field-Women. In CLARK, TJ Farewell to an Idea: Episodes from a History of Modernism. New Haven and London: Yale University Press, 2001, pp. 55-137. c) Journal article: Last Name, First Name. Article Title. Journal Title in bold, City of Publication, Vol., No., pp. 0-0, Abbreviated Month, Year.
ZILIO, Carlos. The battles of Araújo Porto Alegre. ARS, São Paulo, vol. 13, no. 26, pp. 92-103, 2015. LAST NAME, First Name. Thesis/Dissertation Title in bold: title complement not in bold. Year. Thesis/Dissertation (Doctorate/Master's in Area X) – Faculty X, University X, City. BITTENCOURT, Renata. A Black Dandy: The Portrait of Arthur Timótheo da Costa by Carlos Chambelland. 2015. Doctoral Thesis (Art History) - Institute of Philosophy and Human Sciences, State University of Campinas, Campinas. e) Documents obtained through electronic means: LAST NAME, First Name. Article Title. Journal Title in bold. City: Publisher, vol., issue, pp. 0-0, month, year. Available at: <full URL of the document>. Accessed on: day abbreviated month year. SIMIONI, Ana Paula Cavalcanti. Le voyage à Paris: L'Académie Julian et la formation vers 1900. Cahiers du Brésil Contemporain, Paris, Maison des Sciences de L'Homme, n. 57/58-59/60, 2004-2005, pp. 261-281. Available at: < http://www.revues.msh-paris.fr/vernumpub/D-5-Simioni.pdf>. Accessed on: 4 Nov. 2022. f) Films:
Film title in bold (year of release), Director, Screenplay, Country of production, min, Sound, color/b&w. g) Interviews: i) In periodicals: LAST NAME, First Name (of the interviewee). Title of the interview (if any). [Interview given to] Name of the interviewer. Title of the periodical, place of publication, vol., no., pp. 0-0, abbreviated month, year. CANDIDO, Antonio. Literature is a fundamental human right. Interview with Luis Augusto Fischer, Flávio Loureiro Chaves and Flávio de Azevedo e Souza. Ponto e Vírgula. Porto Alegre, year 1, no. 2, pp. 6-9, May-June 1991. ii) In books: LAST NAME, First Name (of the interviewee). Title of the interview (if any). [Interview given to] Name of the Interviewer. In Title of the book in bold. Edition. City: Publisher, year, pp. 0-0. GUILBAUT, Serge. Art historians today. Interview given to Yves Michaud. In GUILBAUT, Serge. Loss spejismos de la imagen en los lindes del siglo XXI. Madrid: Ediciones Akal, 2009, pp. 107-112. |
Supplementary Documents
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At the time of manuscript submission, we also request that you submit the Open Science Compliance Form. |
Financing Statement
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Support Sources In the case of articles resulting from research funded by funding agencies, it is necessary to identify the funding institution, the name of the call for proposals, and the grant number, if any, included in a footnote (preferably in the article title). Support received from individuals can be indicated in the "Acknowledgements" section. |
Contact
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ARS | Depto. De Artes Plásticas ECA-USP |
Read our Open Access Statement