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Karen Fiss

California College of the Arts, Visual Studies, Faculty Member

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PhD Yale University
BA Brown University
https://www.cca.edu/academics/faculty/kfiss
Address: https://portal.cca.edu/people/kfiss/

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C. Michael Hall

University of Canterbury/Te Whare Wānanga o Waitaha

Sheilagh Ogilvie

University of Oxford

Professor Dimitrios Buhalis

Bournemouth University

Daffodil International University(DIU)

University of Tsukuba

Central European University

University of Ulster

Kansas State University

Concordia University (Canada)

Armando Marques-Guedes

UNL - New University of Lisbon

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Papers by Karen Fiss

Zeitgeist in Babel: The Postmodernist Controversy

The Journal of Aesthetics and Art Criticism, 1992

... Furthermore, the term has amassed a host of usages: it makes for an effective rallying point ... more ... Furthermore, the term has amassed a host of usages: it makes for an effective rallying point where a new departure within a system is needed; it serves as a heuristic tool to redefine a particular modernism; or it functions as the object of desire, signifying a state of being &amp;amp;amp;quot;with it ...

World's Fairs on the Eve of War: Science, Technology, and Modernity, 1937–1942

Des)encuentros: ¿Por qué es necesario volver a los clásicos del cine? (Hidenori Okada)

Mystiques et espaces: the Nuremberg rallies and the rejuvenation of the French Fete Nationale

Estudios de arte y estética, 1997

World's Fairs on the Eve of War

Des)encuentros: ¿Por qué es necesario volver a los clásicos del cine? (Hidenori Okada)

Por qué es necesario volver a los clásicos del cine

Introduccion Javier Alcoriza Discusion Gonzalo Aguilar, Karen Fiss, Patricia Keller, Jose Antonio... more Introduccion Javier Alcoriza Discusion Gonzalo Aguilar, Karen Fiss, Patricia Keller, Jose Antonio Perez Bowie e Hidenori Okada Conclusion Javier Alcoriza ?Que es un clasico? La pregunta ha sido tan reiterada que parece dirigir el interes sobre si misma antes que sobre la respuesta. Sin embargo, se ha respondido que la lectura de los clasicos —y, diriamos con mayor motivo, el visionado de las peliculas clasicas— aguza nuestra mirada. Conoceriamos a los clasicos para mejorar nuestra capacidad de vision. La respuesta se orienta antes a la facultad que al objeto al que se aplica, antes a una accion que a un resultado. Los clasicos se convertirian asi en jueces cualificados del mundo que contemplamos en libros y peliculas. La pregunta por la necesidad de los clasicos es, ante todo, una pregunta por la existencia misma de los clasicos, por la definicion de lo clasico, y, a continuacion, otra pregunta por su necesidad; una pregunta por la necesidad de algo, como cuando un critico afirmaba ...

World's fairs on the eve of war: science, technology & modernity, 1937-1942

Choice Reviews Online

Since the first world’s fair in London in 1851, at the dawn of the era of industrialization, inte... more Since the first world’s fair in London in 1851, at the dawn of the era of industrialization, international expositions served as ideal platforms for rival nations to showcase their advancements in design, architecture, science and technology, industry, and politics. Before the outbreak of World War II, countries competing for leadership on the world stage waged a different kind of war--with cultural achievements and propaganda--appealing to their own national strengths and versions of modernity in the struggle for power. Most of the existing literature about world’s fairs tends to focus either on one particular event, or only on fairs in the US. Modernity on Display takes a novel approach by studying five fairs and expositions from across the globe, and before the Second World War--including three that took place (Paris, 1937; Dusseldorf, 1937; and New York, 1939), and two that were in development before the war began (Tokyo, 1940; and Rome, 1942). It is one of the first books to consider representations of science and technology at world’s fairs as influential cultural forces, and at a critical moment in history, when tensions and ideological divisions between political regimes would soon lead to war.

Discourses Conversations in Postmodern Art and Culture

This publication anthologizes "conversational modes" of discourse (monologues, intervie... more

Hybridity, hegemony and design in a globalized economy

Projecting onto Andrea Fraser, or Why Not All Labor Is Created Equal?

Andrea Fraser On Our Mind, 2016

When is a professional academic seminar an economic exchange? When Andrea Fraser decided not to s... more

Genital Call and Genitals on Trial: by Giegold & Weiß (nGbK, 2014)

Screen Bodies, 2016

Discussion of performance / installation art work by Giegold & Weiß, during the exhibition, "What... more

¿Por qué es necesario volver a los clásicos del cine?

L Atalante Revista De Estudios Cinematograficos, Jul 1, 2014

Design in a Global Context: Envisioning Postcolonial and Transnational Possibilities

Design Issues, 2009

Zeitgeistin Babel: The Post-Modernist Controversy

The German Quarterly, 1993

Design in a Global Context: Envisioning Postcolonial and Transnational Possibilities

Design Issues, 2009

Interaction of calcium antagonists with cyclic AMP phosphodiesterases and calmodulin

Biochemical and Biophysical Research Communications, 1982

SUNG TIEU'S SUBNATIONAL ENTERPRISE

Objects Before and After the Wall, 2020

The publication Objects Before and After the Wall unfurls from TIER Berlin's synonymous collabora... more The publication Objects Before and After the Wall unfurls from TIER Berlin's synonymous collaboration with Tlaxcala 3. Over the course of 2019, and culminating on November 9th at the 2nd International Encounter of Objects and Walls, TIER and Tlaxcala 3 hosted a trans-Atlantic exchange that was realized through a public program of screenings, workshops, readings and conversations. In Mexico City, special attention was paid to the development of border walls in Latin America and their ensuing conflicts and contradictions. In Berlin, certain attention was given to the role of the Berlin Wall as a historical site of ideological confrontation, as well as its continued presence as a contemporary media avatar. The publication Objects Before and After the Wall collects 10 distinct contributions in a variety of formats—five selected by Tlaxcala 3 in Mexico City and five selected by The Institute for Endotic Research in Berlin—alongside responses by the organizers, Tlaxcala 3 (Ali Cotero and Clara Bolivar) and TIER (Benjamin Busch and Lorenzo Sandoval).
Contributions by: Rodolfo Andaur, Diana Buitrón, Eli Cortiñas, Marisol García Walls, Francisco González Castro, Manuela Koelke, Daniela Medina Poch, Alberto Pacheco Benites, Hito Steyerl, Sung Tieu with text by Karen Fiss

The Propeller Group: We Are Restless, We Will Not Rest (Even After Death)

The Propeller Group: We are Restless, We Will Not Rest (Even After Death), 2018

about the Sai Gon based collective, The Propeller Group

Necessary Force: Art in the Police State (exhibition)

brochure for exhibition co-curated with Kym Pinder, Art Museum of the University of New Mexico, 1... more

Zeitgeist in Babel: The Postmodernist Controversy

The Journal of Aesthetics and Art Criticism, 1992

... Furthermore, the term has amassed a host of usages: it makes for an effective rallying point ... more ... Furthermore, the term has amassed a host of usages: it makes for an effective rallying point where a new departure within a system is needed; it serves as a heuristic tool to redefine a particular modernism; or it functions as the object of desire, signifying a state of being &amp;amp;amp;quot;with it ...

World's Fairs on the Eve of War: Science, Technology, and Modernity, 1937–1942

Des)encuentros: ¿Por qué es necesario volver a los clásicos del cine? (Hidenori Okada)

Mystiques et espaces: the Nuremberg rallies and the rejuvenation of the French Fete Nationale

Estudios de arte y estética, 1997

World's Fairs on the Eve of War

Des)encuentros: ¿Por qué es necesario volver a los clásicos del cine? (Hidenori Okada)

Por qué es necesario volver a los clásicos del cine

Introduccion Javier Alcoriza Discusion Gonzalo Aguilar, Karen Fiss, Patricia Keller, Jose Antonio... more Introduccion Javier Alcoriza Discusion Gonzalo Aguilar, Karen Fiss, Patricia Keller, Jose Antonio Perez Bowie e Hidenori Okada Conclusion Javier Alcoriza ?Que es un clasico? La pregunta ha sido tan reiterada que parece dirigir el interes sobre si misma antes que sobre la respuesta. Sin embargo, se ha respondido que la lectura de los clasicos —y, diriamos con mayor motivo, el visionado de las peliculas clasicas— aguza nuestra mirada. Conoceriamos a los clasicos para mejorar nuestra capacidad de vision. La respuesta se orienta antes a la facultad que al objeto al que se aplica, antes a una accion que a un resultado. Los clasicos se convertirian asi en jueces cualificados del mundo que contemplamos en libros y peliculas. La pregunta por la necesidad de los clasicos es, ante todo, una pregunta por la existencia misma de los clasicos, por la definicion de lo clasico, y, a continuacion, otra pregunta por su necesidad; una pregunta por la necesidad de algo, como cuando un critico afirmaba ...

World's fairs on the eve of war: science, technology & modernity, 1937-1942

Choice Reviews Online

Since the first world’s fair in London in 1851, at the dawn of the era of industrialization, inte... more Since the first world’s fair in London in 1851, at the dawn of the era of industrialization, international expositions served as ideal platforms for rival nations to showcase their advancements in design, architecture, science and technology, industry, and politics. Before the outbreak of World War II, countries competing for leadership on the world stage waged a different kind of war--with cultural achievements and propaganda--appealing to their own national strengths and versions of modernity in the struggle for power. Most of the existing literature about world’s fairs tends to focus either on one particular event, or only on fairs in the US. Modernity on Display takes a novel approach by studying five fairs and expositions from across the globe, and before the Second World War--including three that took place (Paris, 1937; Dusseldorf, 1937; and New York, 1939), and two that were in development before the war began (Tokyo, 1940; and Rome, 1942). It is one of the first books to consider representations of science and technology at world’s fairs as influential cultural forces, and at a critical moment in history, when tensions and ideological divisions between political regimes would soon lead to war.

Discourses Conversations in Postmodern Art and Culture

This publication anthologizes "conversational modes" of discourse (monologues, intervie... more

Hybridity, hegemony and design in a globalized economy

Projecting onto Andrea Fraser, or Why Not All Labor Is Created Equal?

Andrea Fraser On Our Mind, 2016

When is a professional academic seminar an economic exchange? When Andrea Fraser decided not to s... more

Genital Call and Genitals on Trial: by Giegold & Weiß (nGbK, 2014)

Screen Bodies, 2016

Discussion of performance / installation art work by Giegold & Weiß, during the exhibition, "What... more

¿Por qué es necesario volver a los clásicos del cine?

L Atalante Revista De Estudios Cinematograficos, Jul 1, 2014

Design in a Global Context: Envisioning Postcolonial and Transnational Possibilities

Design Issues, 2009

Zeitgeistin Babel: The Post-Modernist Controversy

The German Quarterly, 1993

Design in a Global Context: Envisioning Postcolonial and Transnational Possibilities

Design Issues, 2009

Interaction of calcium antagonists with cyclic AMP phosphodiesterases and calmodulin

Biochemical and Biophysical Research Communications, 1982

SUNG TIEU'S SUBNATIONAL ENTERPRISE

Objects Before and After the Wall, 2020

The publication Objects Before and After the Wall unfurls from TIER Berlin's synonymous collabora... more The publication Objects Before and After the Wall unfurls from TIER Berlin's synonymous collaboration with Tlaxcala 3. Over the course of 2019, and culminating on November 9th at the 2nd International Encounter of Objects and Walls, TIER and Tlaxcala 3 hosted a trans-Atlantic exchange that was realized through a public program of screenings, workshops, readings and conversations. In Mexico City, special attention was paid to the development of border walls in Latin America and their ensuing conflicts and contradictions. In Berlin, certain attention was given to the role of the Berlin Wall as a historical site of ideological confrontation, as well as its continued presence as a contemporary media avatar. The publication Objects Before and After the Wall collects 10 distinct contributions in a variety of formats—five selected by Tlaxcala 3 in Mexico City and five selected by The Institute for Endotic Research in Berlin—alongside responses by the organizers, Tlaxcala 3 (Ali Cotero and Clara Bolivar) and TIER (Benjamin Busch and Lorenzo Sandoval).
Contributions by: Rodolfo Andaur, Diana Buitrón, Eli Cortiñas, Marisol García Walls, Francisco González Castro, Manuela Koelke, Daniela Medina Poch, Alberto Pacheco Benites, Hito Steyerl, Sung Tieu with text by Karen Fiss

The Propeller Group: We Are Restless, We Will Not Rest (Even After Death)

The Propeller Group: We are Restless, We Will Not Rest (Even After Death), 2018

about the Sai Gon based collective, The Propeller Group

Necessary Force: Art in the Police State (exhibition)

brochure for exhibition co-curated with Kym Pinder, Art Museum of the University of New Mexico, 1... more

"Fantasies of Consumption at Schaffendes Volk: National Socialism and the Four-Year Plan"

book: World's Fairs on the Eve of War: Science, Technology & Modernity 1937 - 1942 (University of Pittsburgh Press), 2015

Excerpted chapter on National Socialism and Capitalism, Schaffendes Volk exposition, Düsseldorf 1937

The Visual Pleasure of Mass Ornament (Leni Riefenstahl, Nazi mass rallies, and France 1930s)

Grand Illusion , 2010

chapter of book examining the reception of Nazi mass pageantry in France

When Is Art Not Enough? Art and Community (Gran Fury, David Hammons, James Pettaway, Jimmy Boyle, Tim Rollins, Joseph Beuys, Dara Birnbaum)

Discourses: Conversations in Postmodern Art and Culture, 1990

In Hitler's Salon: The German Pavilion at the 1937 Paris Exposition Internationale

Art, Culture, and Media under the Third Reich, Chicago …, Jan 1, 2002

Grand illusion: the Third Reich, the Paris exposition, and the cultural seduction of France

University of Chicago Press

... The discussion focuses on French accounts of the annual party congress at Nuremberg and on th... more

Grand Illusion: The Third Reich, the Paris Exposition, and the Cultural Seduction of France -Intro + Chapter 1