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Henri Cartier-Bresson: The Decisive Moment / Elliott Erwitt: Pittsburgh 1950 by Marjorie Backman

Henri Cartier-Bresson: The Decisive Moment Elliott Erwitt: Pittsburgh 1950 International Center for Photography New York City May 23–September 2, 2018 For Henri Cartier-Bresson, it was an ironic turn of events. When the first large photo book of the French photographer

Posted in From the Issue, Reports and Reviews from the Issue

Portfolio: Shrukk (Knot) by Mudabbir Ahmad Tak

Shrukk (Knot) Mudabbir Ahmad Tak Kashmir is a mountainous region between India and Pakistan that has been contested by the two nations ever since they were born out of the withdrawal of British colonial rule from the Indian subcontinent in

Posted in Uncategorized

Media Received, Afterimage Vol. 45, No. 5

BOOKS 4 Saints in 3 Acts: A Snapshot of the American Avant-Garde in the 1930s, edited by Patricia Allmer and John Sears. Manchester University Press in collaboration with the Photographers’ Gallery/166 pp./$34.95 (sb). Aerial Aftermaths: Wartime from Above, by Caren

Posted in Uncategorized

Report: Image Text Ithaca Symposium

Image Text Ithaca Symposium Ithaca College Ithaca, New York June 30–July 1, 2017 The second Image Text Ithaca (ITI) Symposium drew 75 attendees including faculty mentors; participants in Ithaca College’s new ITI MFA program; and an audience of interested photography

Posted in Online Exclusive

Film as Verb: Documentary Imperfection in the Post-Factual Era by Gabrielle McNally

Film as Verb: Documentary Imperfection in the Post-Factual Era We are living in a post-factual era during which people of power in the United States are claiming a mutually exclusive relationship between media and truth, thus presenting an interesting set

Posted in Uncategorized

Media Received: Afterimage Vol. 45, Nos. 2 & 3

BOOKS And Now: Architecture Against a Developer Presidency: Essays on the Occasion of Trump’s Inauguration, edited by the Avery Review. Columbia Books on Architecture and the City/256 pp./$20.00 (sb). Authenticity? Observations and Artistic Strategies in the Post-Digital Age, edited by

Posted in Media Received

Double Exposure: Silos by Andria Hickey and Matthew Chasney

Silos Photographs by Matthew Chasney Text by Andria Hickey The Great Plains of America are vast . . . its villages turned inward as if time had stood still . . . Over time the silos rose with ever greater

Posted in Double Exposure

Film as Verb: Documentary Imperfection in the Post-Factual Era by Gabrielle McNally

Film as Verb: Documentary Imperfection in the Post-Factual Era We are living in a post-factual era during which people of power in the United States are claiming a mutually exclusive relationship between media and truth, thus presenting an interesting set

Posted in Uncategorized

Double Exposure: Silos by Andria Hickey and Matthew Chasney

Double Exposure: Silos by Andria Hickey and Matthew Chasney Film as Verb: Documentary Imperfection in the Post-Factual Era We are living in a post-factual era during which people of power in the United States are claiming a mutually exclusive relationship

Posted in Double Exposure

Portfolio: An Empty Field by Elisabeth Tonnard

Posted in From the Issue, Portfolios from the Issue

FROM THE ISSUE

Current Issue, Vol. 45, no. 4

PORTFOLIO
Shrukk (Knot) by Mudabbir Ahmad Tak


EXHIBITION REVIEW
Henri Cartier-Bresson: The Decisive Moment / Elliott Erwitt: Pittsburgh 1950 by Marjorie Backman

PREVIOUS ISSUE
Vol. 45, nos. 2 &3



PORTFOLIO
Citizen by Michael Danner


PORTFOLIO
Shame by Elissa Levy

ONLINE EXCLUSIVES


REPORT
Image Text Ithaca Symposium


FEATURE
Film as Verb: Documentary Imperfection in the Post-Factual Era by Gabrielle McNally


DOSSIER
Speculations and Inquiries on New Participatory Documentary Environments


DOSSIER
Toward a Theory of Participatory New Media Documentary


DOSSIER
Documentary Untethered, Documentary Becoming


DOSSIER
Collaborative Documentary Practice: Histories, Theories, Practices

DOUBLE EXPOSURE

Silos by Andria Hickey and Matthew Chasney

INKLIGHT
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PREVIOUS ISSUE
Vol. 45, nos. 2 & 3

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