![\"phr24\"](\"http:\/\/www.eshph.org\/journal\/wp-content\/uploads\/sites\/2\/2015\/11\/phr24.jpg\")
<\/a>Issue 24 of the PhotoResearcher is reconsidering the importance of slide shows for the history, theory and practice of visual arts. It consists of essays that approach this subject from a range of perspectives, including its relationship to historical and contemporary artistic practices, technology, as well as the policies of institutional collecting.<\/p>\n<\/i>\u00a0\u00a0DOWNLOAD EDITORIAL<\/a><\/p>\n <\/p>\n Jelena Stojkovi\u0107, Ulla Fischer-Westhauser, Uwe Sch\u00f6gl<\/p>\n Paige Sarlin Tina Weidner Julian Ross Hilde Van Gelder, Jeroen Verbeeck Lilian Haberer Helen Westgeest Dork Zabunyan <\/i> Order the PhotoResearcher Journal or single articles as a PDF<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Image After Image: Reconsidering the Fabric of Slideshows Issue 24 of the PhotoResearcher is reconsidering the importance of slide shows for the history, theory and practice of visual arts. It consists of essays that approach this subject from a range of perspectives, including its relationship to historical and contemporary artistic practices, technology, as well as… Read more »<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[34],"tags":[64,61,59,62,63,60,65,66],"_links":{"self":[{"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/posts\/78"}],"collection":[{"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/comments?post=78"}],"version-history":[{"count":98,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/posts\/78\/revisions"}],"predecessor-version":[{"id":566,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/posts\/78\/revisions\/566"}],"wp:attachment":[{"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/media?parent=78"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/categories?post=78"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.eshph.org\/journal\/wp-json\/wp\/v2\/tags?post=78"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Editors<\/h3>\n
Content<\/h3>\n
\nThe Work of Ending: Eastman Kodak\u2019s Carousel Slide Projector<\/strong><\/p>\n
\nFinal Days: The Slow Demise of Slide-Based Artworks<\/strong><\/p>\n
\nAn Infant with four Breasts? Intermedial Uses of the Slide projector in Japanese Post-war Art<\/strong><\/p>\n
\n`Reverse Magellan\u00b4 Allan Sekula\u2019s Last Slide Sequence<\/strong><\/p>\n
\nRhythm of the Interval. Projection, Circulation and Fragmentation of Images and Words in Tris Vonna-Michell\u2019s Art practice<\/strong><\/p>\n
\nThe \u201cSlideshow Effect\u201d in Video Art: Akram Zaatari\u2019s `On Photography, People and Modern Times\u00b4<\/strong><\/p>\n
\nAscetic Slideshows. Abounaddara and the Stream of Images of the War in Syria<\/strong><\/p>\n