Tapies' Posters and the Public Sphere is an illustrated catalogue raisonn of 245 posters by Antoni Tapies from the 1950s to the present, as well as a large selection of illustrations that show the artist's social commitment, especially his defence of ethical and political issues, and the contemporaneity of his aesthetic vision. The prologue by Pilar Parcerisas follows Tapies' work as a poster artist -- closely related to his career as a painter -- and interprets his works within the context of artistic, social and political history from the eruption of the avant-garde through the troubled times of recent decades.

"Afterall", a journal of art, context and enquiry, offers in-depth considerations of the work of contemporary artists along with essays that broaden our understanding of it. "Issue 28" maps a history of objects, photography, and experience. The articles include Brazilian artist Ricardo Basbaum writing about the move to activate the audience in contemporary art, Pablo Lafuente dissecting the role of the object in participatory practices, an exploration of Emily Wardill's elusive films of objects and ossified social relations, a look at the photographic and sculptural practice of Jean-Luc Moulene, and discussions of the work of 1970s Chicago collective "AfriCOBRA" and the return of modernism in the work of Carol Bove, Mathias Poledna, and others. "Issue 29" looks at the artistic economy and the different means that artists have of approaching the economy as opposed to the market. Essays include examinations of Eugenio Dittborn's channelling of modes of distribution; Moyra Davey's investigations into value; Dierck Schmidt's political and economic histories; R. Kelly's hip-hopera, "Trapped in the Closet"; and the Chinese exhibition "This Useful Life".

Since its launch 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. "Issue 31" looks at artists working with or influenced by migration and cultural politics. Among the artists featured are Lukas Duwenhogger, Paul Chan, Pauline Boudry/Renate Lorenz, Ivan Kozaric, Sven Augustijnen, Almgul Menlibayeva, and Slavs and Tatars, all of whose work focuses on or traverses different art centers and peripheries. Cultural theorist Vassilis Tsianos contributes an essay looking at European migration in relation to the eurozone crisis. "Issue 32" looks at pictorialism today and its role as an artistic strategy. Artists featured are James Welling, Pae White, Simryn Gill, Ahlam Shibli, David Claerbout, and Saloua Raouda Chocair. Artist Trevor Paglen contributes an essay on image making as a form of communication, while film theorist Maxa Zoller writes about the haptic, or, what is excluded by a too-tight focus on visuality.

Since its launch 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. "Issue 31" looks at artists working with or influenced by migration and cultural politics. Among the artists featured are Lukas Duwenhogger, Paul Chan, Pauline Boudry/Renate Lorenz, Ivan Kozaric, Sven Augustijnen, Almgul Menlibayeva, and Slavs and Tatars, all of whose work focuses on or traverses different art centers and peripheries. Cultural theorist Vassilis Tsianos contributes an essay looking at European migration in relation to the eurozone crisis. "Issue 32" looks at pictorialism today and its role as an artistic strategy. Artists featured are James Welling, Pae White, Simryn Gill, Ahlam Shibli, David Claerbout, and Saloua Raouda Chocair. Artist Trevor Paglen contributes an essay on image making as a form of communication, while film theorist Maxa Zoller writes about the haptic, or, what is excluded by a too-tight focus on visuality.

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. Issue 35 looks at contemporary art's engagement with history through the work of Teatro de Vertigem, Tony Chakar, Olga Chernysheva, and Danh Vo.

Since its launch 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. Issue 33 looks at the current interest in performance and gesture amongst contemporary artists working across a range of media. Artists featured include Mark Leckey, Xavier Le Roy, Josef Dabernig, and Simryn Gill. Accompanying essays consider lecture-performances as an emerging art form, the ubiquitous presence of television sets and serials in recent exhibitions, and the reperformance of historical works by a younger generation of artists.

"Afterall" is a journal of art, context, and inquiry that offers in-depth consideration of the work of contemporary artists from around the world, along with essays that set the work in a broader context. Articles on art history and critical theory applied to art round out each volume. "Afterall" is written by scholars - but with an eye toward the general reader who is interested in the situation of art and artists in our world. Issue 25 is built around examinations of ways of looking and commemorating. The essays on artists in this issue address the photography of Zoe Leonard, the objects and videos of Judith Hopf, the films of Yugoslavian Black Wave director Zelimir Zilnik, and the work of Lebanese artist Rabih Mroue, while broader pieces look at the aesthetic dimensions of protest and commemoration under the Argentine dictatorship, the success of 'project exhibitions' in the 1990s, and the sculptural poetry of Karl Homqvist.

"Afterall" is a journal of art, context, and inquiry that offers in-depth consideration of the work of contemporary artists from around the world, along with essays that set the work in a broader context. Articles on art history and critical theory applied to art round out each volume. Afterall is written by scholars - but with an eye toward the general reader who is interested in the situation of art and artists in our world. Issue 26 offers new looks at American artist Catherine Sullivan, Brazilian artist and writer Ricardo Basbaum, Spanish conceptualist Valcarcel Madeina, and the influential US collective Group Material. Contextual pieces address forms of radical pedagogy and the intersections between text and aesthetic style; the issue also offers the first-ever English translation of the 1971 Helio Oiticia text "Tropicamp," alongside an essay explaining its importance.

"Afterall" is a journal of art, context, and inquiry that not only offers in-depth consideration of contemporary art from around the world, but also insightful contextualization of works from a diverse array of artists. Articles on art history and critical theory further serve this goal and round out each issue. Scholarly, but never pedantic, "Afterall" appeals not only to the academic interested in rigorous dialogue about art, but also to any general reader who is concerned with the situation of art and artists in our world. "Issue 27" examines mapping and dissemination in the art world and beyond. Featured artists include Andrea Zittel, Jef Geys, Minerva Cuevas, and the publishing and printing collective Dexter Sinister, while contextual essays look at Phil Collins' new film, "Marxisme"; French feminist video collectives of the 1970s; and Suzanne Lacy's influential book "Mapping the Terrain: New Genre Public Art".

"Afterall", a journal of art, context and enquiry, offers in-depth considerations of the work of contemporary artists along with essays that broaden our understanding of it. "Issue 28" maps a history of objects, photography, and experience. The articles include Brazilian artist Ricardo Basbaum writing about the move to activate the audience in contemporary art, Pablo Lafuente dissecting the role of the object in participatory practices, an exploration of Emily Wardill's elusive films of objects and ossified social relations, a look at the photographic and sculptural practice of Jean-Luc Moulene, and discussions of the work of 1970s Chicago collective "AfriCOBRA" and the return of modernism in the work of Carol Bove, Mathias Poledna, and others. "Issue 29" looks at the artistic economy and the different means that artists have of approaching the economy as opposed to the market. Essays include examinations of Eugenio Dittborn's channelling of modes of distribution; Moyra Davey's investigations into value; Dierck Schmidt's political and economic histories; R. Kelly's hip-hopera, "Trapped in the Closet"; and the Chinese exhibition "This Useful Life".