Before submitting your work, please take some time to familiarise yourself with The Learned Pig and get a sense of the kinds of things that we’re interested in publishing.
There is no word limit for written submissions. Please send as Word documents, not PDFs. For art and/or photography, please send no more than eight JPEGs, to a total no bigger than 3MB. We will get back to you within six weeks. Probably sooner.
Also, if you would like to write reviews for us – of anything from poetry pamphlets to exhibitions, academic books to novels, albums or television series – we would be very interested to hear from you.
Please note: The Learned Pig is very much a labour of love. We do not run advertising or sponsored content, we’ve never applied for public funding, and we receive only occasional donations from supporters. All of which means we are unable to pay contributors (or anybody else for that matter).
Please send all work to The Learned Pig’s editor, Tom Jeffreys: firstname.lastname@example.org
We want to amplify the voices of people who are underrepresented in the fields of art and arts publishing – in particular, Black people, people of colour, people on low incomes, and those who self-identify as disabled, LGBTQI+ and/or working class.
We are only seeking submissions that engage with the following subjects:
An examination of agriculture, systems of food production, and lines of division or connection through the landscape. Fields asks: how does the geography of agricultural fields influence the way we eat? Does the way we eat define who we are? And if so, how do we decide what is ethical to grow and eat?
Editor: Marloe Mens
Rhythm ***submissions closed***
Individual, collective, urban, rural, poetic, biological: this section attempts to think through the ways that rhythm dictates life. We are just as interested in explorations and considerations of rhythm as a feature and product of art, and as we are of rhythm as a component of the artistic process.
Editor: Rachel Goldblatt
Root Mapping seeks to understand journeys and maps as possible modes of artistic or political resistance. What is sparked when today’s mapping is guided by a desire for beauty instead of power, when maps are living creations, arising – like beauty itself – from our engagement and attention?
Editor: Melanie Viets
Rot ***submissions closed***
Rot gets knee-deep in the messiness of interspecies contaminations. It invites work that questions single-authorship through ecological entanglements, both destructive and useful. What becomes of messy origin stories in the midst of late-stage capitalism and climate chaos? What tools and practices remind us that self-made Man is myth?
Editor: Julia Cavicchi
If you want to get in touch about anything that does not relate to submissions – for example, to enquire about editorial partnerships, to let us know about a forthcoming event or exhibition, or simply because you want to say hello – then please send an email to email@example.com