By David Joselit

Paintings as we all know it truly is 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. less than the twin pressures of electronic know-how, which permits pictures to be reformatted and disseminated easily, and the exponential acceleration of cultural alternate enabled by way of globalization, artists and designers are emphasizing networks as by no means prior to. one of the most attention-grabbing modern paintings in either fields is now according to visualizing styles of dissemination after gadgets and constructions are produced, and when they input into, or even determine, varied networks. Behaving like human se's, artists and designers variety, catch, and reformat latest content material. artistic endeavors crystallize out of populations of pictures, and constructions emerge out of the dynamics of the movement styles they'll house.
Examining the paintings of architectural agencies comparable to OMA, Reiser + Umemoto, and overseas workplace, in addition to the paintings of Matthew Barney, Ai Weiwei, Sherrie Levine, and so on, After paintings presents a compelling and unique thought of paintings and structure within the age of world networks.

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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 is still no better analysis than his of the economic-­ aesthetic “regime change” that occurs when mechanical reproduction causes the unit of aesthetic analysis to shift from individual works to virtually unlimited populations of images. But in order to value the art of our own time adequately, we cannot indulge nostalgically in Benjamin’s despair at the loss of aura: In even the most perfect reproduction, one thing is lacking: the here and now of the work of art—­its unique existence in a particular place.

8 cm). (a) Installation view and (b) detail. 33 Like Minimalist sculpture, Levine’s practice requires a spatialized form of reception in which the viewer’s shifting position from place to place causes modulations in significance. Levine’s strategy of reproduction or reiteration marks a broader shift in emphasis among contemporary artists from individual or serial discrete objects to the disruption or manipulation of populations of images through various methods of selecting and reframing existing content.

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After Art (Point Essays on Architecture) by David Joselit


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