As the landscape for cultural production shifts, it’s worth asking what does or does not constitute a documentary now. Here are some thoughts.
Since a picture of one of his works hit #1 on a NYC subreddit, Rob Anderson has enjoyed a surge of attention for his sunny, colorful art. Hyperallergic talks to him about transitioning from being a shoe salesman to a full-time artist.
Teens are dancing to messages from their abusive exes, continuing the legacy of artists like Ana Mendieta and Suzanne Lacy.
Evo Morales made the Wiphala one of the country’s two official flags in 2009. Now, forces that have taken over Bolivia desecrate the emblem, while the resistance waves it proudly.
The recent uprising in Chile is full of references to the beloved Negro Matapacos, who accompanied protesters for many years. As his legend spreads, so too do images of the good boy.
Just hours later, ironically, one of the participating artists, Micol Hebron, had her account suspended for posting a topless photo outside of Instagram headquarters.
The documentary Bellingcat explores the limits and possibilities of activists using social media and public data for investigation.
The documentary Jawline looks at the strange modern landscape of social media celebrity through the story of one aspiring influencer.
The documentary #followme peels back the artifice of social media’s popularity economy.
Currently, a broad part of online communication consists of people reinterpreting a shared pool of references. There’s no better showcase for this than various subcultures putting their own spins on popular memes.
As AI technology grows more sophisticated, neural networks can generate pictures people are comfortable looking at. It takes a surreal reject of an image to remind us of how differently a computer perceives the world.
As Notre-Dame burned, there was controversy over people responding by sharing selfies they’d taken at the cathedral. But there may be public value in this practice.