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Afterall: Autumn/Winter 2013, Issue 34

af Nuria Enguita Mayo

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Since its launching in 1999, Afterall, a journal of art, context and enquiry, 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.   Featuring the work of Lene Berg, Lucy McKenzie, Mary Ellen Carroll, Haegue Yang, and Lili Dujourie, Issue 34 examines artistic practices that address notions of cultural tradition while defying essentialist definitions of identity. Sabine Breitwieser reflects on the challenges faced by the museum in adapting to today's experience economy, Valerie Smith discusses Mike Kelley's 1993 exhibition "The Uncanny," and Patrick D. Flores reflects on 1970s social realism in the Philippines, elaborating on the intersection between political painting and post-colonial discourse.… (mere)
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Since its launching in 1999, Afterall, a journal of art, context and enquiry, 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.   Featuring the work of Lene Berg, Lucy McKenzie, Mary Ellen Carroll, Haegue Yang, and Lili Dujourie, Issue 34 examines artistic practices that address notions of cultural tradition while defying essentialist definitions of identity. Sabine Breitwieser reflects on the challenges faced by the museum in adapting to today's experience economy, Valerie Smith discusses Mike Kelley's 1993 exhibition "The Uncanny," and Patrick D. Flores reflects on 1970s social realism in the Philippines, elaborating on the intersection between political painting and post-colonial discourse.

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