Download After Art by David Joselit PDF

By David Joselit

Artwork as we all know it truly is dramatically altering, yet renowned and significant responses lag at the back of. during this trenchant illustrated essay, David Joselit describes how artwork and structure are being reworked within the age of Google. less than the twin pressures of electronic expertise, which permits photographs to be reformatted and disseminated without difficulty, and the exponential acceleration of cultural trade enabled by way of globalization, artists and designers are emphasizing networks as by no means ahead of. one of the most fascinating modern paintings in either fields is now according to visualizing styles of dissemination after items and buildings are produced, and once they input into, or even identify, varied networks. Behaving like human se's, artists and designers type, catch, and reformat current content material. artworks crystallize out of populations of pictures, and structures emerge out of the dynamics of the move styles they'll house.

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12. Tacita Dean, stills from Fernsehturm, 2001. 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.

There are gains as well as losses in the shift from singular artworks to populations of images that must be acknowledged before attempting to specify the changing formats of contemporary art. , John L. and Jean Comaroff theorize what they call the ethno-­commodity, which packages lifeways or ethnic heritage into an image and/or product to be sold, sometimes as the only product a community may have to trade. Such commodification of identity is one of the primary crimes mechanical reproduction is accused of, involving, as Benjamin asserts, the loss of authority, history, and authenticity.

34 In Barney’s elaborate thematically interlinked multimedia series Drawing Restraint and The Cremaster Cycle, for instance (figures 15, 16) objects function as protagonists in what amounts to an epic of things (this is why there is seldom any dialogue in his films since objects don’t possess the capacity for speech). Barney’s personal “mandala” or diagram of forces is encoded in p o p u l at i o n s 14. Harun Farocki, Serious Games 1, Immersion, 2009. , loop, detail. 39 15. Installation view from Matthew Barney: The Cremaster Cycle.

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