Kim Bobier
Biographic Data
| ID | 1696003 |
|---|---|
| NAME | Kim Bobier |
| GIVEN NAMES | Kim |
| FAMILY NAME | Bobier |
| SIGNATURE | BOBIER K |
| AFFILIATIONS | History of Art and Design, Pratt Institute, Brooklyn, NY, USA |
| ORCID | 0000-0002-3745-0609 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Explicit
Social practice artist Sue Jeong Ka’s ongoing digital database, Coding Carceral Censorship (CCC) (2019-), charts the United States carceral system’s publication censorship. Ka made data categories to track the knowledge production that US prison book bans target and why. Concentrating on the most common justification for this censorship, sexual explicitness, her initial data analysis reveals restrictive penal trends that devalue women’s and East …
Disarming Surveillance
Crystal Z Campbell’s multimedia installation Model Citizen: Here I Stand (2018–19) revisits the monitored life of Paul Robeson. At the height of Robeson’s stardom in the 1920s and 1930s, the Black American singer and actor earned admirers the world over. Robeson also fascinated modernist artists, some of whom made him the subject of famous nude studies. However, in the late 1930s, Robeson’s embrace of anticapitalism, anticolonialism, and antiraci…
We Wanted a Revolution
Panorama is a peer-reviewed, open-access, online publication dedicated to American art and visual culture (broadly defined). The journal is intended to provide a high-caliber international forum for disseminating original research and scholarship and for sustaining a lively engagement with intellectual developments and methodological debates in art history, visual and material cultural studies, and curatorial work.
Queer (Be)Longing
Glenn Ligon, Hands, 1996, silkscreen ink and gesso on unstretched canvas, 82 x 144 in. (208.3 x 365.8 cm) (artwork © Glenn Ligon; photograph by Brian Forrest, Regen Projects, provided by the artist
Routing
As Simone Browne has observed, performances of racializing surveillance “reify boundaries, borders, and bodies along racial lines.” Taking cues from thinkers such as Browne and Donna Haraway, this special issue draws on feminist understandings of sight as a partial, situated, and embodied type of sense-making laden with ableist assumptions to explore how racial politics have structured practices of oversight. How have technologies of race and vis…
Wangechi Mutu
No prominent works on this page.
Wangechi Mutu
Queer (Be)Longing
Glenn Ligon, Hands, 1996, silkscreen ink and gesso on unstretched canvas, 82 x 144 in. (208.3 x 365.8 cm) (artwork © Glenn Ligon; photograph by Brian Forrest, Regen Projects, provided by the artist
Routing
As Simone Browne has observed, performances of racializing surveillance “reify boundaries, borders, and bodies along racial lines.” Taking cues from thinkers such as Browne and Donna Haraway, this special issue draws on feminist understandings of sight as a partial, situated, and embodied type of sense-making laden with ableist assumptions to explore how racial politics have structured practices of oversight. How have technologies of race and vis…
We Wanted a Revolution
Panorama is a peer-reviewed, open-access, online publication dedicated to American art and visual culture (broadly defined). The journal is intended to provide a high-caliber international forum for disseminating original research and scholarship and for sustaining a lively engagement with intellectual developments and methodological debates in art history, visual and material cultural studies, and curatorial work.
Disarming Surveillance
Crystal Z Campbell’s multimedia installation Model Citizen: Here I Stand (2018–19) revisits the monitored life of Paul Robeson. At the height of Robeson’s stardom in the 1920s and 1930s, the Black American singer and actor earned admirers the world over. Robeson also fascinated modernist artists, some of whom made him the subject of famous nude studies. However, in the late 1930s, Robeson’s embrace of anticapitalism, anticolonialism, and antiraci…
Explicit
Social practice artist Sue Jeong Ka’s ongoing digital database, Coding Carceral Censorship (CCC) (2019-), charts the United States carceral system’s publication censorship. Ka made data categories to track the knowledge production that US prison book bans target and why. Concentrating on the most common justification for this censorship, sexual explicitness, her initial data analysis reveals restrictive penal trends that devalue women’s and East …
Art (2 works) · Art history (2 works) · Business (2 works) · History (2 works) · Visual arts (2 works) · Aesthetics (1 works) · Archaeology (1 works) · Censorship (1 works) · Civil rights (1 works) · Computer Science (1 works)