Curatorial
New Climates: A Weblog Exhibition (2007) | http://newclimates.com
New Climates will present new and existing artworks responding to the relationship between art, global climate change and networked culture. This curatorial weblog will create a flexible and open-ended space to address these ideas at a time when climate change has become a vital concern among artists. Launching February–May 2007.
Watching War (2007) | http://watchingwar.net
A Multimedia Exhibition
May 6-13, 2007
Brown University Creative Arts Council, 3rd Floor Gallery
80 Brown Street
Providence, RI 02906
Watching War invites artists and viewers to investigate how war is represented in today’s image-saturated and networked culture. The exhibition brings together artworks that employ old and new visual media in order to explore the impact of ocular technologies on how war is waged and presented to a global audience. Particular focus is given to the ways in which artists have appropriated, responded to, and revised mediated images of conflict since 9/11.
Many of the works confront notions of media saturation and desensitization, and the physical, psychological, social, political, and cultural ramifications of imaging warfare. Others question the connection between depictions of war and larger structures of power, as well as the need for counter-images and reformulations of dominant representations.
War-Scope: (Re)viewing Global Conflict (2007) | View Project
Online exhibition
War-Scope includes artworks that address, confront and subvert the visual technologies used in warfare and those that allow (or force) us to envision and represent it. Many of the works question the relationship between optical technologies and the limits of war—the link between visual extension and the extension of conflict, violence and military or political power. How are images of war captured, filtered and disseminated to a global audience? How is war’s “scope”—in all the possible meanings of the word—presented and re-presented to us? How have new technologies impacted the capturing of these images and their transmission, reception and reproduction? How have artists used similar or competing optical technologies to recondition the way we see war?