By David Joselit
Paintings as we all know it truly is dramatically altering, yet renowned and important 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 pictures to be reformatted and disseminated without problems, and the exponential acceleration of cultural trade enabled via globalization, artists and designers are emphasizing networks as by no means sooner than. one of the most attention-grabbing modern paintings in either fields is now in response to visualizing styles of dissemination after gadgets and buildings are produced, and once they input into, or even determine, assorted networks. Behaving like human se's, artists and designers kind, catch, and reformat current content material. artistic endeavors crystallize out of populations of pictures, and constructions emerge out of the dynamics of the circulate styles they are going to house.
Examining the paintings of architectural organizations akin to OMA, Reiser + Umemoto, and overseas workplace, in addition to the artwork of Matthew Barney, Ai Weiwei, Sherrie Levine, and so forth, After artwork offers a compelling and unique idea of paintings and structure within the age of world networks.
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Extra resources for After Art (Point Essays on Architecture)
The now dissolved firm’s principals, Farshid Moussavi and Alejandro Zaera-Polo, have described the terminal as a “warped surface” generated from a diagrammatic analysis of its circulation pattern. They write, “On a primary level, the p o p u l at i o n s 8. Foreign Office Architects, Yokohama International Port Terminal, 2002. ’”30 As is often the case with buildings rendered as platforms, architectural form is both derived from circulation patterns and aimed at regulating their velocity. Hand in hand with this emphasis on platforms is the widespread reinvention of buildings as a differential field.
Objects characterized by discernible limits and relative stability lend themselves to singular meanings—almost as though well-defined forms are destined to contain a significance like vessels. Emergence, however, unfolds in time: it must be narrated. Despite the changes wrought by contemporary art to art history’s object of study, the preponderance of art- historical interpretation continues to depart from the presumption that objects are its fundamental units of analysis—even if it is recognized that since Conceptual Art, artworks have become unconventional and provisional sorts of things.
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. • Documenting content through research in order to create ingenious archival works that may function as nonnarrative— and even fictional— documentaries, or impassioned commentaries on a particular geopolitical site or situation, as in Harun Farocki’s Immersion (2009), which documents some ways in which video game technologies are used therapeutically by the American military (figure 14).
After Art (Point Essays on Architecture) by David Joselit