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...takes a look at this phenomenon, grounding it centuries ago in the visual culture of the Middle Ages. Groebner’s claim provides the basis for “Defaced,” where he attempts to link today’s media-led fascination with horror and graphic depictions of mutilated bodies to the torture and religious martyrdom that was commonplace in the 15th century. He claims that his interest in the subject originally “did not lie in material from the past, but in the heightened presentability of opened and mutilated bodies in close...

Author: By Elsa A. Paparemborde, CONTRIBUTING WRITER | Title: 'Defaced' is All Art, No Argument | 3/12/2009 | See Source »

...graphic novels...

Author: /time Magazine | Title: Posthumous Literature | 3/10/2009 | See Source »

...Clearly, that has an impact; at the Columbia Fair, the number of organizations present was down a bit from the previous year, and many were more interested offering internships than full-time employment. "People with a lot of experience are looking for entry-level jobs," says Jeremy Esson, a graphic media manager with Green Careers Center. "There's a lot of competition out there...

Author: /time Magazine | Title: Green Jobs: Still More Promise Than Reality | 3/7/2009 | See Source »

Long before television and the Internet, graphic battlefield photos by Mathew Brady's corps of war photographers made their way into homes through photo-album books. (In Timothy O'Sullivan's 1863 Gettysburg tableau A Harvest of Death, you can practically hear the flies buzz over the bloated corpses.) The U.S. censored war photos during World War I, a policy that continued into World War II. But in 1943, President Roosevelt reversed the ban, believing Americans, unaware of the war's high cost, were becoming complacent. Vietnam, a generation later, was the media's war. Television broadcasts and searing photographs...

Author: /time Magazine | Title: A Brief History Of: Photographing Fallen Troops | 3/5/2009 | See Source »

...take. At a cursory glance, the piece is striking primarily in its aesthetic appeal; however, the content’s nature lends it a haunting and jarring quality.The latent energy of the exhibition arises from the details of Yuan and Martin’s installation. From the diction and graphic composition of the prismatic prose piece to the linear marks on the clock’s face, each element of the exhibition is fastidious but not overbearingly so. There is a fine line between being finicky and being cerebral, and the artists tread this divide very carefully. One more spool...

Author: By Lillian Yu, CRIMSON STAFF WRITER | Title: Student Exhibit Defines Time, Space | 3/5/2009 | See Source »

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