It took him fifty years, but he finally did it. Arthur C. Danto's experience with Andy Warhol's "Brillo Box" (1964), coupled with his understanding of Marcel Duchamp's "Fountain" (1917), convinced him that there must be something intrinsic about that thing we call "art" that transcends genre, context, and history. At the end of his life, Danto published his findings in What Art Is. Shaun Randol has this review.
Shaun Randol founded The Mantle in 2009. Today he is the Editor-in-Chief and Publisher. You can email him at shaun [at] themantle.net. Shaun is the co-editor of Gambit: Newer African Writing. He is also a member of the PEN American Center and serves on the boards of Nomadic Press, the Global Literature in Libraries Initiative, and Africa Book Link.
We're two episodes into the Situational Junta and it's clear that the original mission is starting to come true, but maybe not in the way the creators fully intended (though will no doubt embrace with enthusiasm). Two months ago the folks behind the Junta asked: what happens when artists are empowered on a large enough scale to disrupt the status quo?
A recent survey reveals that NSA surveillance in the United States is having a stifling effect on many journalists and nonfiction and fiction writers. Out of concern they're being watched, writers are passing on public events, redirecting research, and muting some communications. Perhaps worst of all, self-censorship is becoming apparent. Learn more in this exclusive interview with Suzanne Nossel, the Executive Director PEN American Center.
At the Situational Junta, Work was put on trial
I wasn't exactly sure what to expect at the first Situational Junta. To find some sort of footing, I mulled over potential meanings for the chosen nomenclature: situational, junta. The title of the three-part artistic venture, for me, was politically charged. My kind of event.