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An illustrated examination of a work-a Warhol that isn't by Warhol-that embodies a shift in attitudes about artistic authorship and originality.

An illustrated study that casts a new light on Oiticica's most important work of "quasi-cinema" on its fortieth anniversary.

An illustrated discussion of Fischli and Weiss's famous film The Way Things Go, marking the twentieth anniversary of its first screening, explores why this captivating work continues to fascinate viewers.

The newest issue from the biannual journal of art history and theory. Established in 1998, Afterall is a journal of contemporary art that provides an in-depth analysis of art and its social, political, and philosophical contexts. Each issue provides the reader with well-researched contributions that discuss each artist's work from different perspectives. Contextual essays and other texts discussing events, works, or exhibitions further develop the thematic focus of each issue. Issue 57 pursues Afterall's ongoing interest in conversations about the new political and ethical responsibilities faced by the global art world in which exhibitions become sites of translation of the realities of the non-western world and of experimentation with progressive and emancipatory internationalisms. Themes covered in this issue include Eurasia as Exhibitionary Space, the Rise of Indigenous Reason, and art practices that go beyond the East-West Paradigm.

The newest issue from the triannual journal of art history and theory. Established in 1998, Afterall is a journal of contemporary art that provides an in-depth analysis of art and its social, political, and philosophical contexts. Each issue provides the reader with well-researched contributions that discuss each artist's work from different perspectives. Contextual essays and other texts discussing events, works, or exhibitions further develop the thematic focus of each issue. ​ The volume will include contributions on Jonathas de Andrade (Filipa Ramos in conversation with Nav Haq), Rosana Paulino (Amanda Carneiro), Richard Mosse (Ailton Krenak in conversation with Charles Stankievech); contributions from Felix Kalmenson, "Between Mean Time"; Lotte Arndt, "On the Lubumbashi Biennale"; Stephanie Bailey on Sin Wai Kin; Corina L. Apostol on "Botanical Entanglements, Women's Emancipation, and Coloniality"; and Adeena Mey on "The Politics of the Forest and Land in Cambodian Contemporary Art"; an Artist's Insert from Marwa Arsanios; and more.

The newest issue from the triannual journal of art history and theory. Since its launching in 1999, Afterall, a journal of art, context, and inquiry, has offered in-depth considerations of the work of contemporary artists, along with essays that broaden the context in which to understand it. Published three times a year, Afterall also features essays on art history and critical theory. ​This issue will focus on disability, health, and altered modes of perception. Artists discussed include Imogen Stidworthy (commentary by Mladen Dolar and Nuria Enguita May), Christine Sun Kim (commentary by Bárbara Rodríguez Muñoz, as well as an artist contribution), Arthur Bispo do Rosário, and Tarek Atou (commentary by Rayya Badra). The issue also features Brenda Caro Cocotle on "care" as a trend, Justin Erik Halldór Smith on "The Normal and Pathological Today," and Sunil Shah on "Documenta."

An illustrated examination of Donald Rodney’s seminal digital media work Autoicon (1997–2000).Donald Rodney's Autoicon, a work originally produced as both a website and CD-ROM, was conceived by the artist in the mid-1990s but not completed until two years after his death in 1998. Referencing Jeremy Bentham’s infamous nineteenth-century "Auto-Icon," the work proposes an extension of the personhood and presence of Rodney, while critically challenging dominant conceptions of the self, the body, and historicity. Grounded in a partial collection of medical documents that constitute biomedicine’s attempts to comprehensively "know" and maintain Rodney’s body during his lifelong experience of sickle-cell aneamia, Autoicon pursues the artist’s address, from the mid-1980s onward, of the British social and institutional body’s cellular composition through racialized, biopolitical power. Autoicon consists of a Java-based AI and neural network that engages the user in text-based "chat," and provides responses by drawing from a dense body of "data points" related to Rodney and his work, including documentation of artworks, medical records, interviews, images, notes, and video. Pulling both from this internal archive and the external archive of the Internet, a "montage machine" composes constantly mutating images according to a rule-based system established around Rodney’s working process. In this One Work edition, curator Richard Birkett traces the distinct contemporary presence of Autoicon, and the ideas and relations that emerged around its conception before and after Rodney’s death, particularly linking the work to the artist’s seminal 1997 exhibition 9 Night in Eldorado. Birkett addresses Autoicon as both an index of entangled social and material relations around Rodney—a form of dispersed memory—and a vector of critical creative production that continues to resonate with contemporary artistic practices and radical thought. While attuned to late twentieth century discourse around the body’s dissolution into the "virtual" and the technological potential for extending consciousness, in its content and structure Autoicon locates these discourses of the human and posthuman in relation to the durable productive forces of post-Enlightenment racialization and ableism. The workings of the mind that Autoicon presents are intrinsically tied to Rodney’s wider use in his work of bodily matter, and genealogically bound to a Black history of displacement, dispossession, and resistance experienced physiologically, socially, and familially by the artist. Autoicon offers up a counter-manifestation of the subject as formed and multiplied through temporal disjuncture, affectability and acts of preservation, care, and collectivity.

A strikingly original analysis of Isa Genzken’s move towards merging sculptural and architectural morphologies into the critique of commodity culture.Fuck the Bauhaus, made in the year 2000 out of quotidian objects and cheap materials foraged from New York City by the German artist Isa Genzken, marked a poetic and provocative departure from Genzken’s earlier work. Since the 1970s, Genzken’s “post-Minimalist” works had been like ruins in reverse, conjuring the haunting specters of recent catastrophe, destruction, and failure in the United States, while also playfully suggesting a degree of freedom and elevation. Analyzing how this mode gave way to a new penchant for appropriation, collage, and montage, André Rottmann offers a strikingly original analysis of Genzken’s move towards merging sculptural and architectural morphologies into the critique of commodity culture. In this new addition to the One Work series, Rottmann draws on the writings of Deleuze and Guattari, Bruno Latour, and other contemporaneous theorists of “assemblage” to illuminate Genzken’s work as a powerful reimagination of social relations in flux.

An illustrated exploration of Helen Chadwick’s erotic, playful, and fierce 1986 installation. In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954–1996). What Chadwick conceived for the ICA exhibition explored her characteristic themes—the female body (her own), the aesthetics of pleasure, the material variety and wonder of phenomena—but took them in a new, flamboyant direction. In this illustrated volume, Marina Warner examines one part of Chadwick’s installation, The Oval Court. This work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy and delicate. Despite the work’s recognition as a feminist monument of rare intensity, it has rarely been shown or discussed since the author’s catalogue essay for the original exhibition. Warner here reconsiders Chadwick’s influence as an artist who helped to shift conventional aesthetics and transvalue despised, even abominated forms. Exploring the work’s richly layered composition in light of intervening years, Warner shows how Chadwick’s imagination has shaped many artists’ ideas and ethics, and emboldened their adventures with materials.

An illustrated examination of one of Hirschhorn's "precarious" monuments, now dismantled.

An examination of the complex and subtle world on display in Rodney Graham's film of an LSD-inflected bicycle ride.

The first sustained examination of a canonical and widely exhibited work by a leading artist of the former Yugoslavia.

An illustrated examination of a 1995 work by Mike Kelley that marked a significant change in his work.

An illustrated study of Hanne Darboven's masterwork, the massive Kulturgeschichte 1880-1983 (Cultural History 1880-1983).

A year after Richard Prince's Untitled (cowboy) photograph set a record for the most expensive photograph ever sold at auction, a study of a work from Richard Prince's series of Untitled (couples) considers the long history of the image and Prince as a pioneer of the approproated image.

A critical examination of Dara Birnbaum's action-packed and riveting video of Wonder Woman's transformations.

A critical close-up of Warhol's famous film and its cultural impact

A richly illustrated study of Marc Chaimowicz's groundbreaking 1972 post-Pop installation-performance piece Celebration? Realife.

An illustrated study of Mary Heilmann's seductive 1979 abstract painting in hot pink and black, Save the Last Dance for Me.

An extended illustrated account of the Hollis Frampton film that marks critical moment in art history when photography meets filmmaking.

An examination of Pierre Huyghe''s post-apocalyptic Untitled (Human Mask), which asks whether our human future may be one of remnants and mimicry.Pierre Huyghe''s 2014 film Untitled (Human Mask) combines images of a post-apocalyptic world (actual footage of deserted streets close to the Fukushima Daiichi nuclear disaster of March 2011) with a haunting scene of a monkey working in an empty restaurant wearing a human mask and a wig. She''s a girl! The flat, emotionless almost automaton state of the mask and the artificial glossy hair topped even with a child''s bow, suggests that she, the monkey, might be a character from Japanese Noh theatre. But there''s no music. Instead Huyghe''s film evinces the terrifying possibility that our own, human, future might just be one of remnants and mimicry; that the deserted streets of Fukushima and the monkey''s recognizable, alienating chimeric performance is all that might survive us. Untitled (Human Mask) presents a pluperfect world with extinction the endgame for a civilization that cared little for the present, dreaming only of a future that inevitably and necessarily could not include it.

A nuanced reading of an artwork that explores a place, transitory and pastoral, where childhood might be lived and imagined differently

An examination of one of Walker Evans's iconic photographs of the Great Depression.

Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion.

An illustrated exploration of Girlfriends (1965/66), one of Sigmar Polke's important early paintings.