The Videography of Darcy Lange is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers. This book follows Lange's trajectory from his early observational studies to the crisis of representation and socially engaged video and activism, as it is shaped by, and resists, the artistic, cultural and political preoccupations of the 1970s and 1980s. It strikes a balance between being a monographic account providing a close analysis of Lange's oeuvre and drawing from unpublished archival materials—a sort of catalogue raisonné—whilst maintaining a breadth with theoretical discourses around the themes of labour and class, education, and indigenous struggles central to his work. The book's frameworks of Conceptual Art, structuralist and ethnographic film theory, social documentary and the critique of representation, video as social practice and the notion of 'feedback', participatory socially engaged art and postcolonial and indigenous theory,—expand our understanding of video outside the predominant structuralist tendencies. Lange's transnational and nomadic career introduces notions of alterity and challenges nationalistic accounts that excluded him in the past.

The objective of this publication is to trace and describe the artistic and institutional decisions that have influenced the work of Camera Austria, which has been made visible through numerous exhibitions and symposiums on photography and, since 1980, by the magazine Camera Austria International. Operating through a comprehensive network of photographers, academics, and art critics from all over the world, the?laboratory? Camera Austria has shaped the photographic culture both internationally and regionally. At the centre of the book are positions of artists that Camera Austria has worked with for exhibitions, who have presented their work at the symposiums and contributed to the magazine.

The documenta 12 magazines are a collective worldwide editorial project. In advance of the exhibition in Kassel, documenta 12 magazines have opened up a central site for reflection and visual contemplation. Since early 2006, influential journals in the realm of art, as well as specialist publications operating in discursive fields beyond the major art centres, have been publishing and discussing contributions essays, interviews, photo reportages, features, interventions from artists and articles of fiction in relation to documenta 12's three main themes: Is modernity our antiquity? What is bare life? What is to be done? This Book is a compilation of all three magazines.

This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new and diverse methodologies for thinking through these myriad animation practices. This volume addresses fundamental questions of form, such as drawing and the line, but also broadens out to encompass topics such as the inter-medial, post-humanism, the real, fakeness and fabrication, causation, new forms of synthetic space, ecology, critical re-workings of cartoons, and process as narrative. This book will appeal to cross and inter-disciplinary researchers, animation practitioners, scholars, teachers and students from Fine Art, Film and Media Studies, Philosophy and Aesthetics.

This book demonstrates how data from participatory visual methods can take people and communities beyond ideological engagement, initiating new conversations and changing perspectives, policy debates, and policy development. These methods include, for example, photo-voice, participatory video, drawing/mapping, and digital storytelling. Organised around a series of tools that have been used across health, education, environmental, and sociological research, Participatory Visual Methodologies illustrates how to maintain participant engagement in decision-making, navigate critical issues around ethics, track policies, and maximize the potential of longitudinal studies. Tools discussed include: Pedagogical screenings Digital dialogue devices Upcycling and ‘speaking back’ interventions Participant-led policy briefs An authoritative and accessible guide to how participatory visual methods and arts-based methods can influence social change, this book will help any postgraduate researcher looking to contribute to policy dialogue.

Without montage or the use of dramatic sequencing, multiple takes or camera angles, Lange's videos rely exclusively on a process of slow observation facilitated by long takes recording the actions of their subjects in real time as they perform daily work. This beautiful monograph covers Lange's earliest sculptural works, his move into video and his Works Studies through to his later Maori Land Project. Texts by Guy Brett, Benjamin H.D. Buchloh, Dan Graham and Mercedes Vicente. Experimental New Zealand artist Darcy Lange had his frst solo exhibition at Ikon in 1971.