Welcome to the final issue (no. 4) of Afterimage’s Volume 49.

This edition begins with an essay by Brian Arnold on the life and work of photographer Chauncey Hare. While working at an oil company in the late 1960s, Hare began photographing, as Arnold explains, “as a way to heal from the pains he associated with the dehumanizing attributes of his mind-numbing job.” Hare found “refuge and a unique vision focusing on that which caused his pain: the corporatization of America,” producing black-and-white photographs of blue- and white-collar workers in offices and domestic spaces—and ultimately following his own unorthodox creative and activist path.

In a feature exploring the aesthetics of co-presence in the work of video artist Maxime Jean-Baptiste, Steyn Bergs discusses how Jean-Baptiste “appropriates and reworks existing media content for the purpose of decolonial critique,” particularly as concerns the historical and current extraction of natural resources from Guiana....

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