Sunday, Jul 25, 2010
by PopMatters Staff
KCRW (22 June 2010)

“Can the next great artist really be discovered on a TV reality show?  That’s the premise of Bravo’s Work of Art: The Next Great Artist. A TV analyst, an artist, an art collector and an art critic who’s a judge on the show share their views with host Sarah Spitz.”

Latest in Television

Please Chuckle Here: The Return of the Sitcom Laugh Track
— Josef Adalian (New York, 27 November 2011)
The Monoculture Is a Myth
— Steve Hyden (Salon, 10 October 2011)
Filmmaker J. J. Abrams Is a Crowd Teaser
— Frank Bruni (The New York Times Magazine, 26 May 2011)
How Roger Ailes Built the Fox News Fear Factory
— Tom Dickinson (Rolling Stone, 25 May 2011)
Sing for Your Life
— Daniel Bergner (The New York Times Magazine, 19 May 2011)
We Are All Teenage Werewolves
— Alex Pappademas (The New York Times Magazine, 22 May 2011)
Why Women Love Fantasy Literature
— Alyssa Rosenberg (The Atlantic, 10 May 2011)
What's Behind the Dearth of Female 'American Idol' Finalists?
— Ann Powers (Los Angeles Times, 27 April 2011)
"Treme" Untangles the Lessons of Trauma
— Matt Zoller Seitz (Salon, 25 April 2011)

Latest in Visual Arts

Everyone’s a Critic: Babies Prefer Picasso
— Tom Jacobs (Miller-McCune, 14 June 2011)
Osama bin Laden's Body: The World's Most Incendiary Image
— Sean O'Hagan (The Guardian, 6 May 2011)
What Is Totalitarian Art? Cultural Kitsch From Stalin to Saddam
— Kanan Makiya (Foreign Affairs, May 2011)
Picasso’s Erotic Code
— John Richardson (Vanity Fair, May 2011)
1848 Daguerreotypes Bring Middle America's Past to Life
— Julie Rehmeyer (Wired, 9 July 2010)
Ars Homo Erotica: ‘Bring the Toilet to Warsaw National Museum’
— Emilie Prattico (Cafebabel, 16 July 2010)
Bravo's 'Work of Art' (audio)
— KCRW (KCRW, 22 June 2010)
The Missing Critical History of Illustration
— Rick Poynor (Print, June 2010)

//Mixed media

Authenticity Issues and the New Intimacies

// Marginal Utility

"The social-media companies have largely succeeded in persuading users of their platforms' neutrality. What we fail to see is that these new identities are no less contingent and dictated to us then the ones circumscribed by tradition; only now the constraints are imposed by for-profit companies in explicit service of gain.

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