Art & Politics: All Articles

“Fatal Assistance” in Haiti: Reflections on a Film by Raoul Peck
Documentary Filmmaker William Miles, 82, Brought Lost Chapters of Black History to Life
Reviewing Hannah Arendt, the Movie; Thinking about the Boston Marathon Bombing, Ary Zolberg and Ed Gruson
My Arrest in Poland and the Ironies of Consequence
The Personal and Political Significance of Political Satire
The Upcoming Italian Elections and the Seamy Side of Satire
Zero Dark Thirty on Super Bowl Sunday
Nancy Mitchnick, Painting Future Past
The Aesthetics of Civil Society
Lincoln: Art and Politics
On “Don’t Mess with Big Bird”
Riding the Wave of Vibrancy in Banglatown
Pussy Riot vs. The Pseudo Religious of Eastern Europe
Notes on dOCUMENTA (13): Afghanistan and Conclusions
Notes on dOCUMENTA (13): Artistic Research
Notes on dOCUMENTA (13): Parks, Nature and Artifact
Detroit Museum Debates the Future
Clinton Snider: Painter Among the Ruins of Modernity
Patti Smith: Photographer in Search of Lost Time
Specters of the Cass Corridor @ N’Namdi Center for Contemporary Art in Detroit
Washed in Dirt: Steve Hughes’s Stupor
OWS and the Power of a Photo
What Can be Said about Guenter Grass’s “What Must be Said”?
Scott Hocking’s Garden of the Gods
The Terror of Important Films: “In Darkness” (Spoiler Alert)
Envisioning Real Utopias in Detroit
Music, or the Triumph of Technics?
Hope against Hopelessness for the New Year
Aesthetic Community in Detroit
Political and Editorial Cartoons: No Laughing Matter
Promesse de Bonheur in Nowhere: Fantasies of Art & Beauty in Israeli and Palestinian Films, Part 2
Promesse de Bonheur in Nowhere: Fantasies of Art & Beauty in Israeli and Palestinian Films, Part 1
Cutting Up: Art in the Age of Electronic Reproduction
Big Is Beautiful Again in Russia: The Return of the Bolshoi Theater
White Rage and the Riffing Cure: An Analysis of Eminem’s Relapse
“Nine-elevenism” and My Discontents
Heretical Musicology
Things Come Together: Occupy Wall Street, Solidarity, Elections and Khodorkovsky
Sex, Race, and Advertising
White Rage: Eminem, the Bad Boy from Detroit
Against Clichés about Mahler’s Music
More on Rap: The Matter of Maturity
In Review: On Labor Day
We’ve Been Demoted, Part II
Rap as News or Art?
We’ve Been Demoted: Reflections of a New Musician
In Review: Cornel West, Barack Obama and the King Memorial
In Review: Democracy and Art for Art Sake (Without Elitism)
Beneath the Pavement, the Beach! — Detroit from a Situationist Perspective, Part III
Beneath the Pavement, the Beach! — Detroit from a Situationist Perspective, Part II
Beneath the Pavement, the Beach! — Detroit Art from a Situationist Perspective, Part I
Christopher Hitchens’s Hitch-22: Confessions of a Political Romantic
Skin in the Game II, Never Forget
May Day’s Ocular Proof: A Bundle of Cloth
The Ocular Proof: Othello and Birth Certificates
On the Assassination of Juliano Mer-Khamis: Fighting for the Freedom of the Everyday
DC Week in Review: A Post of Laughter and Forgetting
Searching for Hope? Look for Bridges with Kapias
The Art of the Mural: Judy Taylor, Milan Kundera and Jose Clemente Orozco
Belaboring the Representation of History in Maine
DC Week in Review: Art, My Town, and Japan
John Ganis: Ruptures and Reclamations
The Art of Dead Labor
Mario Vargas Llosa, The Politics of Gesture in Peru and Beyond
DC Week in Review: Egypt, The State of the Union, Between Past and Future
Detroit & the Art of the Commons
The King’s Speech, the President’s Speech
Bad Politics = Great Art?
Hitler and the Germans: National Community and Crime
Restrepo: A Constructive Public Airing of Back Stage Moments?
MoMA KIDS: Teaching Art Appreciation
Steve Martin’s serious side