Centre Pompidou Research Articles

Review: Hans Hollein and Postmodernism: Art and Architecture in Austria, 1958–1985, by Eva Branscome

Eva Branscome Hans Hollein and Postmodernism: Art and Architecture in Austria, 1958–1985 Abingdon, England: Routledge, 2018, 244 pp., 106 b/w illus. $140 (cloth), ISBN 9781472459947 Throughout the 1980s, one could barely open an architectural magazine without finding an article about Hans Hollein. He created two of the most memorable icons of postmodernism: the Strada Novissima at the Venice Biennale (1980) and his Haas Haus in Vienna (1987). These, along with the Pritzker Prize he received in 1985, made his name synonymous with postmodern architecture. But stardom is fickle, and by the beginning of the 1990s, postmodernist star architects had become victims of their own success. The sensational Deconstructivist Architecture show at New York's Museum of Modern Art in 1988 was the final blow. For postmodernism, it was curtains. More is the pity when it comes to Hollein. As a result of postmodernism's eclipse, his early, pre-postmodern work from the late 1950s to the late 1970s has largely slipped from view. In those years he was a celebrated artist, exhibiting at the Richard Feigen Gallery with Christo and Claes Oldenburg, at the Monchengladbach Museum with Josef Beuys, at the Galerie St. Stefan in Vienna with Walter Pichler, and in the Austrian pavilion at the Venice Art Biennale. His output included collages, ink drawings, sculptures, installations, and performance art. Many of these works are now held at MoMA, the Centre Pompidou in Paris, and various Viennese museums. It took a decade for Hollein to resurface. The comeback came with the Centre Pompidou's blockbuster 2001 exhibition Les Annees Pop . Hollein's art of the 1960s was given pride of place, along with the pop art of Claes Oldenburg and Andy Warhol. Subsequent publications tried to dislodge Hollein's early work from knee-jerk …

Nicolas Schöffer’s SCAM: An Aesthetic Perturbation in the Urban Field

In 1973 cybernetic artist Nicolas Schöffer drove his SCAM through the streets of Paris, passing by the Arc de Triomphe and the Eiffel Tower, creating a curious urban spectacle and highlighting the confrontation between different concepts of urban monumentality that had been at stake in post-World War II European society. Part sculpture, part automobile, the SCAM utilized the cybernetic technique of feedback and Schöffer’s application of it in the aesthetic concept of perturbation, in which light, sound and movement effects were orchestrated to interrupt the increasingly rapid cycles of perceptual saturation that Schöffer associated with modern urban life. The following analysis considers Schöffer’s SCAM in relation to the development of the “space-time” concept in the arts and how the technology of cybernetics suggested a new kind of temporality that complicated the role of art and architecture in defining the urban realm. It also considers the appearance of the SCAM idea in Schöffer’s entry to the Plateau Beaubourg architectural competition and its significance as a counterpoint to the “new monumentality” of the completed Centre Pompidou.

Ex patria

ex patria Evie Shockley (bio) (fifty days at iliam: shield of achilles) a mythology begins with a question like who are we, where are we, what is red, why paint, why me, lord, why? a person who knows all the answers can only borrow a mythology like i'm king midas or i'm god. a painter can take a mythology and remake it so that it answers a new question like romare bearden asking odysseus who are my we? and cy twombly asking akilles why are we still you? painting the i of the storm on a shield. cutting the trickster out of black and blue paper and lashing him with glue to the mast of his last ship. the journey always rough, some miserable god under land under sea always looking for company, people always succumbing. the hero is the one who comes home, even if it's by process of elimination. a playwright can make a mythology ask what's wrong with this song? like suzan-lori parks asking ulysses about coming home from the war so why are you a hero and why are you still coming home from a war and women die in wars too, even if it's not the expected death and—wait that's not a question but it's still a mythology if that's the only thing she knows for sure. ________ (quattro stagioni: primavera, estate, autunno, inverno) a mythology can ask why is autumn so beautiful and why is winter, blight-stricken as it is, so arresting? a mythology, as opposed to a young person, can find autumn and winter much more striking than summer, sun-bleached summer, so legibly the scene of happiness that nothing else can really happen there. a mythology can see the blood in spring, the stages of growth a kind of violence the body does to itself, it will never be this way again yet it can't get on to the next moment fast enough. a mythology can ask why does spring throw its arms out with abandon even when it's abandoning itself? a mythology can ask why is winter so much greener than spring, even clouded in white? the icicles trail as far down the evergreens as they can, but don't keep the wind from brushing snow and sun across the mountain on the same day. the inferno is always burning, women and men going up [End Page 529] in flames. a poet can ask why do daughters grow up by going down? like rita dove asking persephone you think he's hot? all the while, autumn is answering the question about gorgeous rotting. just magenta, green, brown, pink, yellow, red, violet flying off the mythological canvas. ________ (untitled [a gathering of time]) a mythology of time can ask a subtle question. a sky blue can gather white clouds right before your eyes holding them by threads of paint stringing us along so that we miss the purple. the thunder is always further away than the whitening. a poet can grab a mythology of time that takes place over the dead bodies of letter after letter. the tongue lays them to rest and they cover are covered by a sheet that falls far from the tree. a cy twombly can leave for rome at twenty-nine and still die an american artist, a hero who doesn't come home. a photographer can snag a mythology to turn her back on it, wearing black and steady gazing from a question that's a statement of the only thing she knows for sure. like carrie mae weems asking institutions like the british museum when and where i enter showing that she's the answer. contrast, stark, the steps leading in leading away, bright but heavy. the poet can ask a mythology a question like what is black in the museums of paris? and again the mythology pierces the clouds it thunders so loud but so late that by then we've forgotten we saw the lightning we saw the lightning we saw it and it was not subtle. —at the Cy Twombly exhibition at the Centre Pompidou, April 2017 [End Page...

Is a Factory a Museum?

Is a Factory a Museum?* Thomas Elsaesser I read Hito Steyerl's essay "Is a Museum a Factory?" with great interest.1 Not only because she quotes me and announces in the most affable—if nonetheless unmistakable—way her doubts about my remarks, but because she touches on subjects I have been thinking about for some time and that are relevant for a broader audience. The basic argument of "Is a Museum a Factory?" could be summed up as follows: Now, because more and more factories are being converted into museums, it is about time to ask what these two seemingly diametrically opposed institutions have in common that makes it so easy to transition from one to the other. And if that is the case, what consequences does this transition have for (a) the concept of production in art and society, (b) the experience of space and time, (c) the relationship of the masses and the individual, and, finally—here I add my own point—(d) the formatting or programming of the human senses and body? All of this is focused on the question of the fate of the socially committed film and political cinema that once was shown in factories as well and now leads a hybrid and conflicted existence as installation art in museums, exhibitions, and galleries. The areas of tension cannot be discussed in detail here, so let me just try and extend Hito Steyerl's essay to include a further thesis: At one time people did [End Page 42] physical labor in factories and sought to relax with viewing pleasures and feasts for the eyes. Today, "to look is to labor"—whether at a monitor in the office, on a screen or at home, in the cinema, or at the museum. We experience leisure, if at all, playing sports, working in the garden, at the fitness studio, or in other activities and performances even more obsessively oriented around the body; that is, at leisure we are still subjects of the "societies of control" described by Gilles Deleuze and the body-oriented self-maximization that became famous in Michel Foucault's writing as the "care of the self" and "biopolitics." The premises of such an argument are, on the one hand, closely linked and focused—political cinema, installation art—and, on the other hand, very far apart: they refer to our postindustrial societies of crisis and their atomized, fragmented subjectivities, experienced and affirmed only as participants in "multitudes." Hito Steyerl puts her finger on a number of sore points and striking paradoxes. The fact is that several of the most-visited museums are either former factories or power stations, such as Tate Modern in London, or they look like factories, as in the case of the Centre Pompidou in Paris. To put it more generally: in recent decades, more and more factories, warehouses, turbine halls, gasometers, harbors, and large market halls have been converted into museums, exhibition spaces, or artists' studios. If Tate Modern can be said to be the most famous case in Europe, there are countless other examples: the Baltic Centre for Contemporary Art, near Newcastle (a former grain mill), the Santralistanbul Museum of Contemporary Art in Istanbul (a former power station on the Bosporus), the theater and photography museums on Helsinki's harbor (in a former ship cable factory), or the Centre for Art and Media Technology (ZKM) in Karlsruhe (a former weapons and ammunitions factory). In her essay, Hito Steyerl alludes to Rem Koolhaas's newly designed Contemporary Art Museum in Riga, a coal-fired power plant that was already decommissioned during the Soviet area. On the website of Rem Kohlhaas's firm Office for Metropolitan Architecture, this tendency to transform factories into museums is addressed directly: "It is an open secret that the presentation of art is not the only function of the contemporary Museum. The very success of the institution—a pivotal centre of contemporary society—has accrued additional interests and powers that require their own infrastructure, in addition, but independent from the viewing of art." The infrastructure demanded here includes not only the museum shop, a large cinema, performance spaces, and surrounding greenery but also "educational, media-related and production...

Between Mourning and Desire

During the month of November 1998, Stanley Cavell visited Caracas, Venezuela, invited by the Museum of Fine Arts and the philosophy department of Simon Bolivar University, to hold a three-day seminar on art and philosophy. During those days, Cavell presented and commented on the films Jean Dillman, by Chantal Ackerman and Sans Soleil by Chris Marker, as well as two lectures on material he was working on at that time: “The World as Things: Collecting Thoughts on Collecting,” which was published in a volume by the Guggenheim Museum with the Pompidou Center, where he also read that conference that same year (it later appeared in a final version in 2005 in Philosophy the Day After Tomorrow). The second lecture was “Trials of Praise,” where he talked about Henry James and Fred Astaire.

Editorial: Pelestarian Elemen Keruangan dan Pembangunan Identitas Kota

In Ruang we address issues of form and urban space, leaving the economists to ponder the larger issues of democracy and equality in a rapidly fracturing social environment. This raises the problematic of urban form, its representations, symbolism and practices. The conservation of traditional values and norms imply the conservation of those environments that support them. Since conservation means retaining building form without its prior content, the actual fabric and processes of urban conservation are also thrown into the market place. Conservation on any scale also threatens the urban land market since large areas are then removed from trading (or is all history up for sale?) So do we proceed with adaptation, regulated change, conservation or sterilisation (preservation)?
 Today the identity of a place is not merely about localities, but is, in many occasions, more about image making to support the creation of a modern urban living environment. Over the last forty years, the use of iconic buildings to generate capital has become more and more frequent, from Sydney Opera House and the Pompidou Centre, to the new Guggenheim Bilbao. These are iconic structures whose prime function is not to give identity to neighbourhoods, but to source capital through tourism and to boost local industry. Here there is a crossover from high technology to local icons. For example Frank Gehry used technology from the American space program to design shapes and forms, as well as technology focussed on the properties of materials. But such buildings fall again into the arena of capital rather than community development. So what is happening on the other side of the coin?
 There is no doubt that social change is also accelerating in many countries and it is also clear that where we cannot hold capital accumulation and globalisation accountable for many adaptations from gender equality, new housing forms based on the disintegration of the nuclear family, the idea of a universal wage to counter automation, the generation of new communities that wish to live ‘off the grid’, and a phenomenon we might call ‘micro-communities of resistance’ to state neo-corporatism and the abuse of technology.
 At the level of design and urban form, the Charter of the New Urbanism, now sweeping Europe, and North America, with intrusions in Malaysia, China and other countries appears to have merit. Its agenda is community based planning and design, using a process of natural selection to generate urban density, with urban and architectural forms that reflect history and proven value in use. While the New Urbanism is theoretically weak, it sources two major thinkers namely Patrick Geddes and Ian McHarg, who were both concerned with the relationship between the natural environment and human habitation. Importantly, the New Urbanism deals with the tricky problem of transformation that links past formal languages with new uses. Something that we can all learn from.

Os Novos Museus e a Estética na Pós-modernidade

Esse artigo considera a eclosão dos novos museus como sintomática da cultura pós-moderna iniciada nos anos 1980. Toma como referência o Centro George Pompidou, em Paris (1977), considerado o marco inaugural da dita cultura dos museus, além do Guggenheim Bilbao (1997), tomado aqui como o principal exemplo da arquitetura icônica e midiática dos museus contemporâneos. A arquitetura espetacular dos novos museus, observada de modo mais claro no exemplo do museu Guggenheim de Frank Gehry, é compreendida como emblemática do esgotamento da arquitetura moderna, marcado pela perda de sua função prospectiva, e do surgimento da chamada pós-modernidade.

The structural engineering of the Leadenhall Building, London

The engineering design was developed by Arup in collaboration with architect Rogers Stirk Harbour + Partners (RSHP). The architecture is guided by the principles of openness, flexibility and legibility, which were the hallmark of early Rogers and Arup projects, most notably the Pompidou Centre in Paris and the Lloyd's building in London. A key aspiration from the outset was for the building to clearly express its engineering systems. Stability is provided by a fully exposed, external braced tube. Temperature loadings had to be considered carefully and led to some unusual design features. Several construction-led innovations were employed, including a solid precast floor system and a core built from volumetric prefabricated steel modules with integrated services. Significant permanent horizontal movements occurring during construction were successfully reversed using an innovative 'active alignment' approach. The multidisciplinary engineering systems, and the collaborative digital methods used to deliver the project, have been described previously. This paper presents a more detailed description of the structural design, with a focus on some of the more unusual engineering solutions.

Cao Fei: Rethinking the global/local discourse

Abstract Cao Fei (b. 1978) was born and raised in the southern Chinese city of Guangzhou by the Pearl River Delta (PRD), ‘the factory of the world’, as the artist defined it. Working with multimedia, primarily video, photography and machinima, her practice engages with popular culture, regional trends and globalized fashions. With an early official participation at the China Pavilion of the Venice Biennale in 2007, Cao Fei is one of the most renowned Chinese artists of the post-Cultural Revolution ‘new new human beings’ (xinxin renlei), and one of the few women artists from the People’s Republic of China who has been recognized and collected internationally by art establishments such as the Tate Collection in Britain, the Centre Pompidou in Paris and MoMA in New York. This article proposes to use Cao Fei’s work to explore the limitations of the global/local discourse and offer a more nuanced and complex understanding of this dichotomy in Chinese contemporary art.

Video: Hans Ulrich Obrist

Hans-Ulrich Obrist opens his talk with a quote by Erwin Panofsky, who said that “we often invent the future out of fragments of the past.” This sentiment is at the heart of Obrist’s own curatorial practice, in which he examines curatorial history to learn from past exhibitions in order to envision future exhibitions. Obrist begins with a discussion of the 1985 exhibition Les Immatériaux, curated by the renowned philosopher Jean-François Lyotard at the Centre Pompidou in Paris. This exhibition was the first to make him aware of the potential of the labyrinth as a curatorial model. Taking Les Immatériaux as his point of departure, Obrist walks us through some labyrinthine exhibitions he (co-)curated, detailing the myriad sources and the web of influence for these labyrinths: a planned follow-up to Lyotard’s Les Immatériaux, themed “Resistance,” in collaboration with Daniel Birnbaum and Philippe Parreto; Cities on the Move with Hou Hanru, inspired by Dylaby and the aborted Situationist exhibition at the Stedelijk Museum Amsterdam, along with Édouard Glissant’s idea of mondialité; Laboratorium with Barbara Vanderlinden in the Fotomuseum Antwerp, influenced by Umberto Eco’s writings on the labyrinth; and the Swiss pavilion for the 14th Venice Architecture Biennale, motivated by the work of the Swiss sociologist Lucius Burckhardt, the founder of “strollology”: the science of flânerie. Obrist leaves us with some ruminations on the digital dimensions of the labyrinth as a curatorial model as he reflects on what the import of labyrinth structures for exhibitions of a digital nature could be.

Fundraising, comunicación y relaciones públicas. Desarrollo cultural de una marca de ciudad: Málaga

La gestión estratégica de la comunicación y las relaciones públicas con los grupos de interés son herramientas de gran utilidad para el fundraising o captación de fondos, para el desarrollo sostenible de los proyectos de interés socio-cultural. Analizamos su impacto en la marca de la ciudad de Málaga, mediante un estudio exploratorio con los informantes clave de las entidades más representativas de la ciudad: Ayuntamiento, Festival de Cine, Centro de Arte Contemporáneo, Museo Ruso, Museo del Automóvil, Centro Pompidou, Museo Picasso y Museo Carmen Thyssen. Con los resultados, establecemos un mapa conceptual que correlaciona la comunicación con la percepción de la marca, el nivel de confianza de los grupos de interés y su uso para atraer inversores.

"Something I would like to hear from my voice": a Documentary on Jim Dine

Jim Dine is an American artist and poet. His most recent show is Paris Reconnaissance (Centre Pompidou, February-April 2018). Poems to Work On, The Collected Poems of Jim Dine, edited, with a foreword, by Vincent Katz, was published by Cuneiform Press in 2015. Jim Dine subsequently published Nantes (translated, with an afterword, by Vincent Broqua) in 2016 and La Coupole et autres poemes (ed. Olivier Brossard, translated by Vincent Broqua, Olivier Brossard, Abigail Lang, and Beatrice Trotigno...

The Le Corbusier Scandal, or, was Le Corbusier a Fascist?

In 2015 an essay by the architect Marc Perelman was printed in Le Monde claiming Le Corbusier was a fascist and that the French academy had whitewashed this from architectural history. The 2015 exhibition Le Corbusier: Mesures de l’homme, a major retrospective of the architect, held at the Centre Pompidou was adduced as evidence since it did not mention Le Corbusier’s politics, despite three French books on Le Corbusier’s fascism appearing in 2015, and the scandal that erupted around them. The letter was signed by myself, Zeev Sternhell, Xavier de Jarcy, Marc Perelman, and Daniel de Roulet; and reprinted in English by Verso in January 2017. The Fondation le Corbusier, who are unhappy with this turn of events, wrote to me asking me why I signed the letter. This essay will attempt to answer the question by evaluating the French quarrel, on both sides, and allegations about Le Corbusier’s fascism.

Turning Back Time: the Living Contemporaneity of Avant-gardes

Although anniversaries are often reduced to occasions for canonisation, which can have a somewhat dampening effect on the events they celebrate, this is not the case for two exhibitions, The Revolution Is Dead: Long Live the Revolution! and A Different Way to Move: minimalismes, New York, 1960-1980, which are respectively being held in Bern for the centenary of the Revolution of 1917 and at the Carre d’art in Nimes for the 40th anniversary of the Centre Pompidou. They both share the same ambi...

On Disciplinary Finitude

The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinetti's avant-garde, the Canadian exhibition,Speed Limits, was critical and combative in spirit, more properly futurist (though thematically antifuturist). It probed the frayed edges of futurism's narrative of modernity as the era of speed to reflect on the social, environmental, and cultural costs. An exhibition about limits, it looked backward over the architectural history of the twentieth century to look forward beyond the era of automobility.

The Presence of Women Photographers in the Permanent Collections of Ten European Museums

AbstractGender inequality in the various artistic disciplines is still a socio‐political problem despite the efforts of governments and institutions. The aim of this article was to examine the catalogues of the permanent collections of ten European museums: the Tate Modern, the Centre Pompidou, the MACBA (Museu d'Art Contemporani de Barcelona), the Museo Nacional Centro de Arte Reina Sofía, the Istanbul Modern Art Museum, the MUMOK (Museum Moderner Kunst), the Stedelijk Museum, the Kiasma, the Hermitage Museum and the Astrup Fearnley Museet, and then compare the proportion of women among the artists in their collections. For this purpose, the number of works and artists was counted and analysed in each museum in the sample taking into account the social, political and economic conditions of the institution and relating them to the rest of art institutions. The results show a clear underrepresentation of women artists.

프랑스 미술관의 초기 백남준 예술 수용의 맥락과 의미: 미술관 제도의 관점에서 = An Institutional Approach to the Reception of Nam June Paik in French Art Museums During the 1970s: Contexts, Characteristics, and Meanings

This study explores the initial reception process of Nam June Paik in French public art museums during the 1970s. Paik's video art was first introduced to French art museums in the mid-70s in a series of historical video art exhibitions held at the Musee d'art moderne de la ville de Paris (Art Video, Confrontation 74, ARC2; Retrospective de Nam June Paik, 1978–1979) and at the Musee national d'art moderne - MNAM/CCI ( Jardin-Videos , 1978). The paper analyzes the historical contexts, characteristics, and socio-cultural meaning of these early video art exhibitions in relation to the French museum and artistic landscape of the 1970s. In particular, the study examines the favorable cultural and institutional context that fostered the historical reception of Paik's video art in France: the inauguration of the Centre Pompidou (1977), a new type of museum that reserved specific space for new media and contemporary art, offering a desperately awaited new dimension to late modern and contemporary art. The paper also discusses the top-down intraduction process of Paik's early video art in France as well as its significant influence in the development of early French video art history, specifically in relation to the environment of post-68 local artistic scene. In so doing, the study aims to deconstruct the somewhat monolithic and mythical existing historical discourses concerning the artist, suggesting the need for further studies of his work in relation to the cultural, social, political, and historical contexts of its emergence and institutionalization.

An Architect Draws Sound and Light: New Perspectives on Iannis Xenakis's Diatope and La Légende d'Eer (1978)

Abstract This article examines the creative process of Diatope, a multimedia project created by Iannis Xenakis in 1978 for the inauguration of the Centre Pompidou in Paris, utilizing analytical research of sources found in several archives. By interpreting Xenakis's sketches and plans, the article elucidates for the first time the spatialization of La Légende d'Eer, the music featured in the Diatope. The findings of the research underline the importance of graphic and geometric representation for understanding Xenakis's thinking, and they highlight the continuity and evolution of his theory and practice over time. Furthermore, the research findings present the means by which this key work of electroacoustic music might be spatialized today, now that the original space of the Diatope no longer exists.

Media-archeological art. A re-politicization of art

The following text originates from a conference held at the École nationale supérieure des arts décoratifs, as part of a colloquium entitled “Organogenèse. Pour un nouveau paradigme de recherche en art et en design”*. The argumentation of the colloquium, strongly inspired by Bernard Stiegler’s aesthetic thinking, included the following statement: “If today we have to think of a new political idea of art and design as an alternative to the control and exploitation of affects by a now cultural capitalism, general organology, defined as a science of instruments, places the issue of technique at the heart of research in art and design.” Throughout the conference, images depicting the effects of the digital industries on humans were screened, along with the “answers” brought by media-archeological art.** Since these images constitute the very material from which this text derives, it seemed to me that commenting them was irrelevant.*International colloquium, 15 and 16 October 2015, held by Igor Galligo (EnsadLab/Iri–Centre Pompidou), Samuel Bianchini (EnsadLab), Everardo Reyes Garcia (Labsic, Université Paris 13), Bernard Stiegler (Iri–Centre Pompidou), with the support of Labex ICCA (Industries Culturelles et Création artistique).**In order of appearance: Gold Revolution (Quentin Destieu, collectif Dardex), ADM (AntiDataMining) VIII (RYBN), Windows93 (Sys 42–Jankenpopp & Zombectro), ReFunct Media (Benjamin Gaulon & al.), Sprint#1 (Scrumology Prod), LogForData K7 (Projet Singe), The Pirate Cinema (Nicolas Maigret)... With the exception of Nicolas Maigret, these artists gathered from 11 to 18 December 2016, at the occasion of the exhibition “Frankenstein Media” at the Médiathèque Ceccano in Avignon—where Athanasius Kircher, an inexhaustible source for media-archeologists from all over the world, lived and worked (1602-1680).

A Harsh Game: Ericka Beckman's (Virtual) Reality

Research Article| November 01 2016 A Harsh Game: Ericka Beckman's (Virtual) Reality Robert Grand Robert Grand ROBERT GRAND is a writer and curator living in Queens, New York. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2016) 44 (3): 12–15. https://doi.org/10.1525/aft.2016.44.3.12 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Robert Grand; A Harsh Game: Ericka Beckman's (Virtual) Reality. Afterimage 1 November 2016; 44 (3): 12–15. doi: https://doi.org/10.1525/aft.2016.44.3.12 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search This content is only available via PDF. © 2016 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.2016 Article PDF first page preview Close Modal You do not currently have access to this content.