From an Eastern nation on the global periphery to a European neoliberal democracy enmeshed in transnational networks, Poland has experienced a dramatic transformation in the last century. Polish Media Art in an Expanded Field uses the lens-and mirror-of media art to think through the politics of a postsocialist "New Europe," where artists are negotiating the tension between global cosmopolitanism and national self-enfranchisement. Situating Polish media art practices in the context of Poland's aesthetic traditions and political history, Aleksandra Kaminska provides an important contribution to site-specific histories of media art. Polish Media Art demonstrates how artists are using and reflecting upon technology as a way of entering into larger civic conversations around the politics of identity, place, citizenship, memory, and heritage. Building on close readings of artworks that serve as case studies, as well as interviews with leading artists, scholars, and curators, this is the first full-length study of Polish media art.

As the last generation of underground artists in the Soviet Union and the first on the post-Soviet scene, Moscow conceptualists provide a unique point of view on the breakup of the USSR, the changing role of unofficial art in a repressive state, and the beginning of a new world order in both art and politics. Offering a counter-narrative to the tradition of Socialist Realism that dominates Soviet art history, this book provides insight into the production and activism of the experimental artists that worked in Moscow during this watershed moment in Russian history. Based on extensive original research and in-depth interviews with the original artists, Nicholas demonstrates how the work of these radical, unconventional artists challenged the Soviet authorities, official doctrine, and even other colleagues in the nonconformist art world. They rebelled against political and artistic restraints alike, turning everyday texts and engaged performances into powerful statements of creative independence and unrestrained imagination. Unlike many of their fellow dissenters, these artists rejected elitist notions about art for art's sake in favor of a more open, democratic, and on-going dialogue about everyday concerns. Their embrace of humor, their focus on the real meaning of words, and their insistence on the importance of broad participation in the creation of art make these artists important models for the challenges of our own time. A crucial link between the revolutionary avant-garde and contemporary protest art, Moscow conceptualism offers lessons for activists under pressure from authoritarian regimes around the world. By highlighting the importance of laughter, imaginative outreach, and direct engagement with everyday citizens, this book presents fascinating evidence of the importance of individual protest and demonstrates that socially-engaged art can be a powerful weapon for change in building a better world.

Polish Media Art in an Expanded Field uses the lens--and mirror--of media art to think through the politics of a postsocialist "New Europe," where artists are negotiating the tension between global cosmopolitanism and national self-enfranchisement. This book demonstrates how artists are using and reflecting upon technology as a way of entering into larger civic conversations around the politics of identity, place, citizenship, memory, and heritage. Building on close readings of artworks that serve as case studies, as well as interviews with leading artists, scholars, and curators, this is the first full-length study of Polish media art.

Each year, the New Media Caucus - an affiliate of the College Art Association - organizes panel presentations, events and exhibitions during the CAA annual convention, and Media-N Journal dedicates its summer edition to showcasing NMC conference proceedings and concurrent offsite events. In 2015 we saw one panel presentation and two events, the first a series of presentations in the Media Lounge onsite at the conference venue in the New York Hilton and the second our customary offsite Showcase event hosted this time around by Hunter College.Pat Badani,Editor-in-Chief

An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1850-2010: Modernity to Globalisation" includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating, as well as explorations of key canonical artists and movements and of some less well-documented work of contemporary artists. The third of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction: stories of modern art Part 1: Art and modernity 1:Avant-garde and modern world: some aspects of art in Paris and beyond c.1850-1914 2: Victorian Britain: from images of modernity to the modernity of images 3: Cubism and Abstract Art revisited 4: Modernism in architecture and design: function and aesthetic Part 2: From modernism to globalisation 5: Modernism and figuration 6: From Abstract Expressionism to Conceptual Art: a survey of New York art c.1940-1970 7: Border crossings: installations, locations and travelling artists 8: Global dissensus: art and contemporary capitalism

Censorship in Polish Art After 1989 is a pioneering work on censorship in Polish art after the fall of the USSR available in English for the first time with a skilled translation by Lukasz Mojsak. Polish Art Historian Jakub Dabrowski, with contributions from Anna Demenko, offers the first comprehensive study to analyze the problems of restricting the freedom of artistic expression in the Third Polish Republic. The book includes two complementary approaches - legal and historical (including political and social aspects of the phenomenon). Based on the collected factographic material, Dabrowski captures the characteristic qualitative and quantitative characteristics of the phenomenon studied in time. He enters his considerations in a wider social, political, artistic and media context, at the same time pointing to symbolic breakthroughs, precedents, sequences or correlations of events.

The last twenty or so years have seen a phenomenal expansion in the variety of forms of creative and narrative audiovisual expression. The increasing role of relatively recent developments such as the internet, mobile telephony and computer gaming, which complement the narrative representation of more traditional media, seems to have acted as a catalyst to unfreeze the standard types of story form that had been appearing on screens for over a hundred years. Storytelling has taken on new forms, in the physical format(s) of the narrative material, the place or device where it is experienced, and the way it is accessed by the viewer – in particular, a viewer who might now also be a creator, modifier, or active participant in the represented audiovisual experience. Including texts by leading media scholars Erkki Huhtamo and Ryszard W. Kluszczynski, this book offers both historical and contemporary analyses of a variety of these “expanding practices in audiovisual narrative”. Chapters discuss mobile and locative (and hybrid) narrative media; the connection between computer gaming and more traditional forms of storytelling and game-playing; the use of computational algorithms to organise and access narrative content; and explain how the traditional documentary film form is being transformed by the potential of the audience to participate in, or change the form of, a non-fictional narrative. Historically, the work of Luc Courchesne and Radúz Činčera is analysed, as is the media-archaeological context of interactivity, pushing buttons, and group experiences. Narrative forms will undoubtedly continue their process of expansion and evolution, such that one can never truly represent the “state of the art” of current practice in audiovisual digital media. Nevertheless, the articles presented here offer useful source material to inform scholars and practitioners from a variety of related fields about certain historical, cultural and theoretical aspects of the evolution of the narrative form in the digital age.