@article{ART002233332},
author={Im Sue Lee},
title={Aesthetics of Surveillance and Control: from Cold War to Globalization},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2017},
number={41},
pages={37-65},
doi={10.17057/kahoma.2017..41.002}
TY - JOUR
AU - Im Sue Lee
TI - Aesthetics of Surveillance and Control: from Cold War to Globalization
JO - Journal of History of Modern Art
PY - 2017
VL - null
IS - 41
PB - 현대미술사학회
SP - 37
EP - 65
SN - 1598-7728
AB - Surveillance is a mode of visuality that is performed by the oppressive governing power. Globalization after the Cold War made a paradigm shift from panoptic surveillance to data surveillance. This study addresses artworks responsive to this shift. They resist state surveillance and focus on collection, record, and fabrication of data and information, rather than visual observation. In order to criticize the domestic surveillance during the Cold War, Margia Kramer dealt with the FBI secret file on Jean Seberg (1980), while Pam Skelton conducted Conspicuous Dwellings (2004-2007), a project on the Stasi file. Both are based on the disclosure of secret governmental documents on the domestic surveillance. Kramer exposed surveillance and character assassination of artists by the state institution in the 1960s and 1970s; Skelton revealed the network among places which had been established for surveillance on the populations. Laura Poitras, who worked on the problem of surveillance in the US after 9/11, reconstructs the panoptic surveillance within the context of data surveillance.
KW - surveillance;control;Margia Kramer;Pam Skelton;Laura Poitras;Panopticon
DO - 10.17057/kahoma.2017..41.002
ER -
Im Sue Lee. (2017). Aesthetics of Surveillance and Control: from Cold War to Globalization. Journal of History of Modern Art, 41, 37-65.
Im Sue Lee. 2017, "Aesthetics of Surveillance and Control: from Cold War to Globalization", Journal of History of Modern Art, no.41, pp.37-65. Available from: doi:10.17057/kahoma.2017..41.002
Im Sue Lee "Aesthetics of Surveillance and Control: from Cold War to Globalization" Journal of History of Modern Art 41 pp.37-65 (2017) : 37.
Im Sue Lee. Aesthetics of Surveillance and Control: from Cold War to Globalization. 2017; 41 : 37-65. Available from: doi:10.17057/kahoma.2017..41.002
Im Sue Lee. "Aesthetics of Surveillance and Control: from Cold War to Globalization" Journal of History of Modern Art no.41(2017) : 37-65.doi: 10.17057/kahoma.2017..41.002
Im Sue Lee. Aesthetics of Surveillance and Control: from Cold War to Globalization. Journal of History of Modern Art, 41, 37-65. doi: 10.17057/kahoma.2017..41.002
Im Sue Lee. Aesthetics of Surveillance and Control: from Cold War to Globalization. Journal of History of Modern Art. 2017; 41 37-65. doi: 10.17057/kahoma.2017..41.002
Im Sue Lee. Aesthetics of Surveillance and Control: from Cold War to Globalization. 2017; 41 : 37-65. Available from: doi:10.17057/kahoma.2017..41.002
Im Sue Lee. "Aesthetics of Surveillance and Control: from Cold War to Globalization" Journal of History of Modern Art no.41(2017) : 37-65.doi: 10.17057/kahoma.2017..41.002
