Art and Design Commons^™

Contemplative Video Art Interview, Joanna Spitzner

Anne Beffel

Diabolical Frivolity Of Neoliberal Fundamentalism, Sefik Tatlic

Sefik Tatlic

Today, we cannot talk just about plain control, but we must talk about the nature of the interaction of the one who is being controlled and the one who controls, an interaction where the one that is “controlled” is asking for more control over himself/herself while expecting to be compensated by a surplus of freedom to satisfy trivial needs and wishes. Such a liberty for the fulfillment of trivial needs is being declared as freedom. But this implies as well the freedom to choose not to be engaged in any kind of socially sensible or politically articulated struggle.

Media Art: Mediality And Art Generallly, Brogan S. Bunt

Brogan Bunt

The wide ranging, trans-disciplinary interest in technological media suggests the possibility of a new discipline concerned with the history, implications and practice of mediation. Within this context, the field of media art gains a new sense of coherence and identity. Given the lingering tension between media art and mainstream contemporary art, this may lead the latter to assert its disciplinary autonomy. This paper argues against such a move. Media art is better positioned as an integral strand within contemporary art and, more particularly, as a key space of creative enquiry and practice within a generally conceived contemporary art education.Keywords: media …

Can There Be A Critical Collaborative Ethnography?, Rachel Breunlin, Helen A. Regis

Rachel Breunlin

In this article we wrote for Collaborative Anthropologies, Helen and I use a case study of a participatory poster project to explore the intersections of "community art" and collaborative ethnography, and to consider how to engage in critical issues of race, class, and culture while working with a diverse group of artists and community activists in New Orleans.

Eschatalogicallandscape, Kirby Farrell Prof

kirby farrell

Nazi obsession with art can be understood as a strategy for managing death-anxiety. The venerable trope of "immortal art" took on fetishistic qualities in the fantasies of the Nazi leadership. For many of them, art compensated for the trauma of World War I by framing idealized vitality invested with visionary self-expansiveness, as in the hyperbolic nudes of Thorak and Brekker, combined with a nostalgic recuperation of lost Victorian-era authority. In Ernest Becker’s terms, as creaturely motives, the manic looting of art works described in Lynn Nicholas’ The Rape of Europa acts out greed for life, appropriating hypostatized vitality as the …