John Douglas Millar discusses the performances of emerging artist Cara Tolmie, in the context of the rejection of hyperbolic theory in answer to the question: what happens after postmodernism?
Sheela Gowda has invoked the connections between artisanal labour and the work of the artist since the early 1990s, when she began making objects and installations employing locally specific materials...
'Does art have a sex? And if so, what does it look like?' With these questions Amna Malik opens her study of Sarah Lucas's Au Naturel, an assemblage of objects that suggest male and female body parts.
Nancy Buchanan's practice posits the audience as participants in a conversation on the gendered body and the perils of commercialised spectatorship. Audrey Chan interviewed Buchanan in Los Angeles; this photo-essay maps her forty year career in her own words.
Michèle Faguet considers Phil Collins’s recent video project marxism today, which looks at East German teachers of Marxism-Leninism who lost their livelihood — along with much else — after 1989.
T.J. Demos explores Dara Birnbaum's pioneering development of the possibilities of video as a medium, situating it historically amidst postmodernist appropriation, media analysis and feminist politics.
John Douglas Millar discusses the performances of emerging artist Cara Tolmie, in the context of the rejection of hyperbolic theory in answer to the question: what happens after postmodernism?
Sheela Gowda has invoked the connections between artisanal labour and the work of the artist since the early 1990s, when she began making objects and installations employing locally specific materials...
'Does art have a sex? And if so, what does it look like?' With these questions Amna Malik opens her study of Sarah Lucas's Au Naturel, an assemblage of objects that suggest male and female body parts.
Nancy Buchanan's practice posits the audience as participants in a conversation on the gendered body and the perils of commercialised spectatorship. Audrey Chan interviewed Buchanan in Los Angeles; this photo-essay maps her forty year career in her own words.
Michèle Faguet considers Phil Collins’s recent video project marxism today, which looks at East German teachers of Marxism-Leninism who lost their livelihood — along with much else — after 1989.
T.J. Demos explores Dara Birnbaum's pioneering development of the possibilities of video as a medium, situating it historically amidst postmodernist appropriation, media analysis and feminist politics.
On 23 November 2011, following the recent addition to Afterall’s One Work book series, Jeff Wall: Picture for Women, Afterall and Central Saint Martins organised a conversation between Wall and the book’s author, David Campany. A full audio recording is now available.
María Berríos analyses the effects of dissident acts in Chile in the 1970s, testing how their largely undocumented character differentiates them from historically certified actions.
About
Afterall is pleased to announce two opportunities to work with our team on a maternity cover basis. The positions of Managing Editor (Exhibition Histories) and part-time Lecturer on the MRes Art: Exhibition Studies offered by Central Saint Martins College of Art and Design, are currently advertised; these roles will continue until October 2012. To learn more about Afterall, please see our About page. For job descriptions and details on how to apply for these role, please click here
Exhibition
Badischer Kunstverein in Karlsruhe is presenting Emily Wardill's new solo exhibition around her new film, Fulll Firearms. Wardill's subjects and films have been discussed in the current issue of Afterall journal by Melissa Gronlund and Dieter Roelstraete.
Fulll Firearms is at Badischer Kunstverein between 27th January and 9th April 2012.
Exhibition
Camden Arts Centre is presenting the first exhibition dedicated to German conceptual artist Hanne Darboven in the UK. Darboven's Cultural History 1880-1983 installation has been the focus of an Afterall One Work title written by Dan Adler.
The exhibition will be running from 20th January to 18th March 2012 at Camden Arts Centre.
