Download After Art by David Joselit PDF

By David Joselit

Paintings as we all know it's dramatically altering, yet well known and demanding responses lag in the back of. during this trenchant illustrated essay, David Joselit describes how artwork and structure are being remodeled within the age of Google. below the twin pressures of electronic know-how, which permits photographs to be reformatted and disseminated without problems, and the exponential acceleration of cultural alternate enabled by means of globalization, artists and designers are emphasizing networks as by no means earlier than. one of the most attention-grabbing modern paintings in either fields is now in line with visualizing styles of dissemination after gadgets and buildings are produced, and once they input into, or even identify, different networks. Behaving like human se's, artists and designers style, seize, and reformat latest content material. artworks crystallize out of populations of pictures, and constructions emerge out of the dynamics of the movement styles they are going to house.

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Hand in hand with this emphasis on platforms is the widespread reinvention of buildings as a differential field. While hardly the only architects to deploy such a rhetoric (this preference is evident in numerous prominent contemporary practices), the firm of Reiser + Umemoto are among the most eloquent in defining an architectural field characterized by differential intensities. In their Atlas of Novel Tectonics (2006), they declare, A gross figure-­ ground distinction, showing structure and infill, for instance, is insufficient.

31 by subsuming both figure and ground within a unified field of variable intensity where function inheres not in any single element but in systemic concentrations of elements. Artists have invented analogous strategies of aggregation and variation to demonstrate the behavior of images within populations. The crux of this effort is to shift the figure/ground dynamic from the internal composition of an artwork, to a broader oscillation between the work and its aesthetic environment. a–­ b). If you slowly move from postcard to postcard and really look, something paradoxical happens: the experience of each picture is both the same as and distinct—­ spatially as well as temporally—­from all the others.

16 mm color anamorphic, optical sound, 44 min. 36 after art photography and video, in text files, in live action, even sometimes in custom-­made physical containers. This impulse can be archival, documentary, or bluntly accumulative. • Reiterating content in either live performance or “virtual performance” (where images act as the sole protagonists undergoing a change of state as when Rachel Harrison gives mass-­produced things like an ice tea can a new “environment” in her Tiger Woods of 2006) (figure 13) through rephotographing, refabricating, rewriting, restaging, and reenacting a range of events including political protests, works of art, or scenes from Hollywood films.

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