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DOSSIER
Toward a Theory of Participatory New Media Documentary

Screen shot from You Are On Indian Land (Challenge for Change, Canada, 1969)

I will not present a manifesto on participatory new media documentary. A manifesto renders resolutions and claims, whereas in this essay I prefer to offer a looser, less hortatory form that opens up inquiry into an important and vital area of documentary that is dynamic and still rather unresolved. Read more>

DOSSIER
Documentary Untethered, Documentary Becoming

Film still from The New Buchanan Mall, San Francisco (2016) photograph by Sophie Constantinou; courtesy Citizen Film

Last year when I screened my episodic documentary Lunch Love Community (2015) for an audience of environmental journalists at the University of Colorado-Boulder, I presented the project from the perspective of our (Patricia Zimmermann’s and my) evolving ideas of Open Space Documentary. A transmedia documentary project that includes a mosaic of twelve short documentary films at its center, Lunch Love Community explores how the citizens of Berkeley radically overhauled and redefined public school meals and food education in the early 2000s. Read more>

DOSSIER
Another Way of Being: Hidden Histories of Collaborative Documentary Practices

Still from Twilight City (1989) by Black Audio Film Collective; courtesy Black Audio Film Collective

In 1964, Werner Haftman, director of the documenta III exhibition in Kassel, Germany, made the following declaration: “The idea of work sharing and teamwork, which produces wonderful results in the modern industrial world, is not appropriate for the art world. In the art world, it is, in fact, a bastard idea. The documenta exhibition wants to show the singular individual instead, the singular creative spirit of the artist.” Read more>

EXHIBITION REVIEW
Sondra Perry: flesh out

Ashes for Three Monitor Workstation (2017) by Sondra Perry. Photo: Kevin Kline, Squeaky Wheel Film & Media Art Center

Sondra Perry’s flesh out is a look at blackness through black history, the black present, and an imagined black future. It serves as an intimate sequel to her 2016 exhibition Resident Evil, featured at the interdisciplinary art space The Kitchen in New York City. Blackness isn’t often represented within technological interfaces, as if the “norm” of cis-gendered, straight whiteness even extends to something without race, sexual orientation or gender. Perry seems to actively counter this idea while exploring the harm regularly done to black bodies. Read more>

EXHIBITION REVIEW
Zach Nader: stage blind

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The six photographic prints and three video works of stage blind comprise Brooklyn artist Zach Nader’s second solo exhibition hosted at Microscope Gallery, and act as a follow-up to his 2015 exhibition channel surf (January 9, 2015–February 16, 2016), which, in line with his current work, investigated advertising photography, software editing, and screen-based image consumption. Read more>

EXHIBITION REVIEW

The Light Inside: Wendy Snyder MacNeil, Photographs and Films
Riches01

Two figures pose against an old building; one sticks out its tongue, an aged hand reaching up to hold a devilish mask over its unseen face. This photograph, Williamsville, Vermont (1972), from the portfolio Unitarian Universalist Church, Williamsville VT (1967–72) by Wendy Snyder MacNeil, is a self-portrait with the artist’s grandmother. But at first glance, their diminutive presence against the abstracted geometry of the weatherboard reminded me of someone else: the careful composition and playful use of masking as a refusal to meet the gaze of her own camera brought to mind the childhood work of Francesca Woodman—one of Snyder MacNeil’s most famous students…Read more>

From the Issue

ESSAY

The Chainletter Tapes

Billyou009

 

The slot in our front door rattled, and my sister received a letter. I read it, looking over her shoulder. Quickly, she folded it up and put it away, dismissing it: “It’s just a chain letter.” I was concerned—it looked important. It listed a number of handwritten signatures, including some of her friends. It was the year of the Bicentennial; to my child’s eyes, it looked like a version of the United States Constitution. It read, “If the pattern is not broken, there is no way it can not work. Be sure to copy this letter entirely. OMIT NONE OF IT!” The envelope was addressed to my sister, but its message suggested the unknown power of an organized group. Filled with casual threats, but also the vague possibility of change, its language was strange and foreboding. It thrilled me. Like a stone dropped into a pool, its effect seemed to circle around our house in ever-widening echoes: its promise could only be fulfilled if the rules were followed. That is, if she was a good girl and did it correctly. I was not yet ten years old, and the directives of this kind of magical thinking appealed to me. Read more>

REPORT

3rd Kochi-Muziris Biennale  (From Vol. 44, no.5)

With exhibitions spanning twelve venues and showing work by over one hundred regional and international artists, the Kochi-Muziris Biennale is deservedly recognized as “the largest platform for visual arts engagement in Southeast Asia.” Artist Sudarshan Shetty curated the Biennale (his first curatorial project) and has sensitively and adroitly selected and positioned a compelling array of contemporary work across a wide variety of media, including painting, sculpture, video art, sound art, and performance art. According to Shetty, the Biennale—subtitled “Forming in the Pupil of an Eye—“is an assembly and layering of multiple realities” that offers the possibility for connections between the spaces of “immediate experience” and “multiple other consciousnesses.” This approach seems appropriate for the first and only biennial held in India, a country long associated with spiritual and meditative practices intended to facilitate such bridging of reality with higher consciousness. Read more>

Transmediale: Festival for Art & Digital Culture<
Untitled
From Skype duets to an artist shaking hands with one thousand people and then tak­ing “Microbiome Selfies” of the germs on his hands, from a performance of a flying drone to a brief history of the air-raid siren, from angst about maker culture being co-opted to complaints about the creeping complicity of the sharing economy with neoliberalism, Transmediale is an annual five-day festival in Berlin that approaches digital art, technology, and culture from a mind-bogglingly diverse panoply of conceptual, theoretical, and disci­plinary starting points…Read more>

ESSAY
The Cowboy Prince (From Vol. 43, no.5)
Aasp01

In fall of 2015, Richard Prince exhibited a sculpture titled Cowboy at Barbara Gladstone Gallery in Chelsea in New York City, which was both predictable and surprising. Prince’s long preoccupation with the cowboy image started with the work he produced in the 1980s while working in the tearsheets department of Time magazine. There he became attracted to the images used in Marlboro ads, which employed variations on the mythic, ruggedly handsome character to sell cigarettes. Prince rephotographed the ads with the skills of an amateur, cropping out the logo and ad copy and having them reprinted…Read more>

 

ESSAY
Scientific Creativity: The Notebooks of Rose Lowder (From Vol. 43, no. 1&2)
Merenda Nelson04
I was first exposed to Rose Lowder’s films in 2003, while attending monthly screenings at Pittsburgh’s experimental film focused micro-cinema, Jefferson Presents. The audience for Jefferson Presents typically consisted of artists, musicians, filmmakers, and experimental film enthusiasts. Screenings were loud and lively, and it was uncommon for a film to go by without enthusiastic cheers and jeers from the audience. But when a Rose Lowder film was shown, the room was inevitably silent (as are most of her films), and the audience became fully immersed in an all-engrossing visual experience: red poppies danced in sunny fields traversed by sailboats gliding on shimmering blue oceans; bustling city streets in summer intertwined with empty urban plazas in autumn; peach trees trembled between morning light and evening shade…Read more>

 

ESSAY
Metaphor and Memento in Christine Shank’s Our First Year Together (From Vol. 43, no. 1&2)
DeRoo_Shank13
Christine Shank’s powerful and continually unfolding work, our first year together, is an ongoing series of photographs and edition of two artists’ books, begun in 2009 and exhibited at Visual Studies Workshop in fall 2014. The title suggests the story of a couple or a human relationship. This is reinforced by two images: one showing an anonymous male figure and the other an anonymous female figure. The woman is photographed from behind, with long hair obscuring her features, and the man’s eyes are closed in contemplation, so that the individuals’ identities and experiences remain ambiguous. Instead, photographs of domestic objects, still lifes, and landscapes evoke conflicting emotions, interpersonal dynamics, and various moments in the trajectory of a relationship…Read more>

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Current Issue, Vol. 44, no. 6

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Congratulations and Celebrations by Ellen Lesperance

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PORTFOLIO
The Constant Resist by David Moriya

ONLINE EXCLUSIVES


DOSSIER
Toward a Theory of Participatory New Media Documentary


DOSSIER
Documentary Untethered, Documentary Becoming


DOSSIER
Collaborative Documentary Practice: Histories, Theories, Practices


EXHIBITION REVIEW
Sondra Perry: flesh out


EXHIBITION REVIEW
Zach Nader: stage blind

DOUBLE EXPOSURE

Of the Appalachian Diaspora Text by Stephen J. Quigley
Photographs by April L. O'Brien


Outside My Outdoor Shower There Is a Carnival Text by Lisa Annelouise Rentz
Photographs by Michelle Mueller
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