Interactive Arts Commons^™

Art Interventions And Disruptions In Financial Systems: An Interview With Paolo Cirio, Marisa Lerer, Conor Mcgarrigle

Articles

Prior to the release of the 2016 Panama Papers and 2017 Paradise Papers – leaked documents that uncovered the movement of funds through offshore tax havens – conceptual artist Paolo Cirio’s (b. 1979) project Loophole for All (2013) revealed and documented the mechanics behind offshore financial centers. In this interview, Cirio expounds upon his investigations of offshore banking practices, describes his projects for instituting alternative financial models, and explains his hacktivist (i.e. Internet activist) strategies that engage with legal and economic systems. Defining the foundational movements that inform his work, Cirio in turn illuminates his methods of direct provocation and …

Radical Dissonance And Haunted Gestures: Rupture And Reverence In The Artwork Of Aja Mujinga Sherrard, Aja M. Sherrard

Graduate Student Theses, Dissertations, & Professional Papers

This paper serves to establish the studio practice of Aja Mujinga Sherrard within the framework of conceptual art, touching on the flexible use of media, the subversive or political nature of the work, and its relationship to movements and disciplines such as Feminism and Poststructuralism.

The section entitled “Race and Incoherence” addresses the practice of Radical Dissonance—or the creation of ruptures within commonly accepted concepts and social constructions—through the Costuming Kinship Series, 13≠12≠12.2 (Genetics Project), and Body Double. The section entitled ”Art, Loss, and the Unspeakable” traces an emotional shift in her work and speaks directly to the pieces …

This Is Not A Trend, Michael T. Workman

Undergraduate Theses, Professional Papers, and Capstone Artifacts

ABSTRACT

Workman, Michael, B.F.A., May 2015 Art

THIS IS NOT A TREND

Faculty Mentor: Elizabeth Dove

This is not a trend is a multi-media art installation that examines the valuation system of contemporary art by creating an absurd situation that mimics a real commercial experience. The manner in which value is placed on art is artificial. Both the monetary and intellectual value of art is decided mostly on the reputation of the artist, their fame, and how well their work is marketed to the public. These characteristics are marketed to art consumers in order to sell them an authentic “art” …