Tag: military

“Data and Site: Visualizing Indexicality” lecture @ Florida State

Posted on by ow3n

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I am giving a lecture on my research tomorrow at a Florida State Department of Geography colloquium. I’ll be addressing artistic and cultural works that make use of data visualization and various forms of mapping to critique or engage issues surrounding data privacy, militarism, and surveillance. I will be giving a preview of a new web-based project involving mapping and cats. I will also talk about Representing Place, the collaborative graduate seminar I co-taught with Prof. Phil Steinberg in Geography.

“Data and Site: Visualizing Indexicality”
Owen Mundy, Assistant Professor in Art
Friday April 18, 3:30-4:30pm
DeVoe Moore Conference Center, Bellamy 150-E.

Coleman Center residency progress Tues Jan 29

Posted on by ow3n

There is much interest in my project here at the Coleman Center. People stop by every hour with photographs and stories of their past experiences and motivations for joining the service.

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To My Dearest and Beloved Family, Aubrey, England, May 3, 1945

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On Monday I worked with the Art Club, showing them how to use the equipment and talking about the many different ways the military is represented through photography and film.

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Touching up a WWI image

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Fred Adams and his portrait

Drain Magazine – Power issue and new site

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I am happy to announce the launch of the new website for Drain: Journal of Contemporary Art and Culture and the corresponding release of issue #11 POWER, which I co-organized with Avantika Bawa.

POWER, issue #11

This issue of Drain attempts to expose the cultural faciality of power, as well as manifestations of power as simulacra which obfuscate traditional inquiries into its construction. If power connects the virtual and the actual, how does cultural creativity channel or destabilize this connectivity? The corporate-academic-entertainment-military-industrial complex and its front-end, the global information machine floods us with images and images of images, to cause sensory overload, and yet, at the same time, acute sensory deprivation. Most of all, power entrenches a visual literacy that allows us to see only its style, leaving us unable to access other ways of seeing and becoming. How can we parody this visual literacy, and the speed, cadence and grammar of this power and its affects?


Necropolis by Roi Kuper

If the simulation of power is necessary and absolute, can creative acts and molecular politics slip through the surveillance and desensitizing of territorializing systems?


GWOTEM by J.M. Badoud

This issue of Drain presents artworks, essays, and other creative works to actualize answers to these questions and re-channel them into different connectivities, ways of becoming and conceptual production.


The Gift of Giving by Oscar Perez

We are pleased to present Ian Buchanan and Roi Kuper as our feature writer and featured artist. This issue also includes essays by Emma Cocker and Chris Revelle, as well as interviews by Alexander Stewart with artist Andy Roache and Bertha Husband with Blazo Kovacevic. In our Creative Writing section, we present works by Camille Meyer, BT Shaw & Elizabeth Lopeman, Vanessa Norton, Emma Cocker and Morgan Campbell. Art projects works by Jamie Badoud, Diana Heise, Cyrico Lopes, Bob Paris and Oscar Perez.


Past issues

Photography (Basic) NAVEDTRA 12700

Posted on by ow3n

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I’m working on a new project to recreate a military portrait studio encountered during my previous life as a Navy photographer. In June 2010 I will install it in a solo exhibition at Holzhauer Gallery, Northwest Florida State College in Niceville, Florida, nestled neatly at the edge of Eglin Air Force Base, the “largest air base in the free world.” (quoted from a display at the nearby Air Force Armament Museum)

The project is inspired by rediscovering the Navy photo manual that was issued to me in April 1993 when I entered A-school at the Defense Photography School in Pensacola, FL. The inspiration for this project comes from chapter 7. There are also a lot of great illustrations and photographs including:

  • Page 5-2 has drawings of “photo techniques.”
  • Page 4-30 has an image (from a 4×5 view camera) of the school I went to.
  • Page 6-12 has an example of the old “grip and grin” ceremony.

More updates on the project will follow soon.

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