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Darja Bajagić
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Darja Bajagić
For her first solo museum exhibition, New Yorkbased emerging artist Darja Bajagic (b. 1990) turns to the murky terrain where real and staged violence bleed into each other with an ease that is both unsettling and alluring. Published on the occasion of her 2016 show, this slender softcover catalog, Unlimited Hate, presents a practice that spans painting, photography, collage, video and installation in full-color illustrations with texts by curators Alissa Bennett, Franklin Melendez and Natalia Sielewicz. Following the lure of the fringes, the artist culls her imagery from fan-gore magazines, true-crime TV shows, fetish websites, obscure online forums and hidden chat rooms tucked away in the darker reaches of the Web. She handles these disparate source materials with a dose of humor, working them into densely layered compositions that are at once confrontational and poetically fragile. Bajagic explores loaded questions of embodiment, viewership and power relations, all the while interrogating our need to hold images accountable.
Darja Bajagić
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Arts Education
Arts Education: A Global Affair highlights the adaptations that arts educators and researchers have undertaken to successfully adjust to the changes in arts education practices as a consequence of the global pandemic and its ongoing variants. Moreover, teaching and research in arts education have changed significantly as a consequence of the world-wide pandemic, COVID-19. Emerging variants have exacerbated the situation and show no signs of subsiding. In response to these challenges, arts educators and researchers have developed new modes of instructional delivery and data collection. These include asynchronous, synchronous, hybrid and bi-modal online learning, and online questionnaires, surveys, focus groups, and video interviews. This volume highlights the adaptations that arts educators and researchers have undertaken to successfully adjust to this new reality in education.
Fade In
Where does the fake art in movies and on TV come from? Stemming from this question, Fade In explores the intersection of art and on-screen entertainment through works by such artists as Darja Bajagic, GALA Committee, Amie Siegel, William Leavitt, Christian Marclay, Rasa Todosijevic and Cindy Sherman, alongside stills from films by Jacques Tati, Dusan Makavejev, Alfred Hitchcock, Pier Paolo Pasolini, Martin Scorsese and more.
Post-Digital, Post-Internet Art and Education
This open access edited volume provides theoretical, practical, and historical perspectives on art and education in a post-digital, post-internet era. Recently, these terms have been attached to artworks, artists, exhibitions, and educational practices that deal with the relationships between online and offline, digital and physical, and material and immaterial. By taking the current socio-technological conditions of the post-digital and the post-internet seriously, contributors challenge fixed narratives and field-specific ownership of these terms, as well as explore their potential and possible shortcomings when discussing art and education. Chapters also recognize historical forebears of digital art and education while critically assessing art, media, and other realms of engagement. This book encourages readers to explore what kind of educational futures might a post-digital, post-internet era engender.
Cases of citation
Cases of citation presents a history of artists who incorporated literary references into their work from the 1960s onwards. Through a series of object-focused chapters that each take up a singular ‘case of citation’, the collection considers how literary citation emerged as a viable and urgent strategy for artists during this period. It surveys nine artworks by a diverse group of artists – including David Wojnarowicz, Lis Rhodes, Romare Bearden and Silvia Kolbowski – whose citations draw on literary works with authors ranging from Gertrude Stein to Jean Genet. The book also features an interview with pioneering feminist artist Elaine Reichek that discusses her career-long commitment to working with text. Together, the artworks and cited texts are approached from various critical angles, with each author questioning and complicating the ways in which we can ‘read’ textual citations in art.
