By David Joselit
Paintings as we all know it really is dramatically altering, yet renowned and important responses lag in the back of. during this trenchant illustrated essay, David Joselit describes how paintings and structure are being remodeled within the age of Google. less than the twin pressures of electronic know-how, which permits photos to be reformatted and disseminated without difficulty, and the exponential acceleration of cultural alternate enabled by way of globalization, artists and designers are emphasizing networks as by no means prior to. probably the most attention-grabbing modern paintings in either fields is now according to visualizing styles of dissemination after gadgets and buildings are produced, and when they input into, or even determine, assorted networks. Behaving like human se's, artists and designers style, seize, and reformat current content material. artworks crystallize out of populations of pictures, and structures emerge out of the dynamics of the movement styles they'll house.
Examining the paintings of architectural enterprises reminiscent of OMA, Reiser + Umemoto, and overseas place of work, in addition to the paintings of Matthew Barney, Ai Weiwei, Sherrie Levine, etc, After artwork offers a compelling and unique concept of artwork and structure within the age of world networks.
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Additional info for After Art (Point Essays on Architecture)
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. As in Postcard Collage #4 these tactics underemphasize what is represented in order to accentuate the relationship between discrete images and their framing networks.
Harun Farocki, Serious Games 1, Immersion, 2009. , loop, detail. 39 15. Installation view from Matthew Barney: The Cremaster Cycle. Solomon R. Guggenheim Museum, New York, February 21–June 11, 2003. 16. Matthew Barney, detail from Field Suite, 2002. Portfolio of five etchings in self-lubricating plastic portfolio box, 15 3/4 × 10 3/4 in. 3 cm) paper, 17 3/4 × 13 × 1 in. 5 cm) box. his own invented logo, the “field emblem,” a horizontal oval shape upon which an orthogonal bar of repression is superimposed.
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. The transmission of effects across a field is impossible when a dialectical relationship occurs from the start.