Contemporary Art and Digital Culture analyses the impact of the internet and digital technologies upon art today. Art over the last fifteen years has been deeply inflected by the rise of the internet as a mass cultural and socio-political medium, while also responding to urgent economic and political events, from the financial crisis of 2008 to the ongoing conflicts in the Middle East. This book looks at how contemporary art addresses digitality, circulation, privacy, and globalisation, and suggests how feminism and gender binaries have been shifted by new mediations of identity. It situates current artistic practice both in canonical art history and in technological predecessors such as cybernetics and net.art, and takes stock of how the art-world infrastructure has reacted to the internet's promises of democratisation. An invaluable resource for undergraduate and postgraduate students of contemporary art - especially those studying history of art and art practice and theory - as well as those working in film, media, curation, or art education. Melissa Gronlund is a writer and lecturer on contemporary art, specialising in the moving image. From 2007-2015, she was co-editor of the journal Afterall, and her writing has appeared there and in Artforum, e-flux journal, frieze, the NewYorker.com, and many other places.

Contemporary Art and Digital Culture analyses the impact of the internet and digital technologies upon art today. Art over the last fifteen years has been deeply inflected by the rise of the internet as a mass cultural and socio-political medium, while also responding to urgent economic and political events, from the financial crisis of 2008 to the ongoing conflicts in the Middle East. This book looks at how contemporary art addresses digitality, circulation, privacy, and globalisation, and suggests how feminism and gender binaries have been shifted by new mediations of identity. It situates current artistic practice both in canonical art history and in technological predecessors such as cybernetics and net.art, and takes stock of how the art-world infrastructure has reacted to the internet's promises of democratisation. An invaluable resource for undergraduate and postgraduate students of contemporary art - especially those studying history of art and art practice and theory - as well as those working in film, media, curation, or art education. Melissa Gronlund is a writer and lecturer on contemporary art, specialising in the moving image. From 2007-2015, she was co-editor of the journal Afterall, and her writing has appeared there and in Artforum, e-flux journal, frieze, the NewYorker.com, and many other places.

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 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.

"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 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 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".