Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultur...
Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house. Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, "After Art" provides a compelling and original theory of art and architecture in the age of global networks.
what the contemporary global artwork must be: an emissary, whose power arises out of cultural translation rather than avant-garde innovation, a form of international currency that can cross borders effortlessly.
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Parametricism: continuous differentiation.
Blob: is more than a biomorphic shape: it is a surface alternately undergoing intensification and relaxation, stickiness and smoothness, singularity and multiplicity. In other words, it is a continuous field, experiencing pressure from both site and program.
Resarch into surface intensities among architects has center on two formats: continuous ramps and differential fields.
Levine's practice requires a spatialized form of reception in which the viewer's shifting position from place to place cause modulations insignificance.
As in Postcard Collage #4 these tactics underemphasize what is represented in order to accentuate the relationship btw discrete images and their framing networks.
4 strategies for doing so have emerged:
1. Reframing found ... (查看原文)
0 有用 Manchild 2015-02-08 00:34:35
首先引用本雅明有硬伤，然后图像作为货币流通的比喻部分否认了原创的可能性，人物、事件、地点、物品的再组合成为了图像力量的来源，甚至让博物馆和美术馆超越大学成为政治参与的代替者，这些说法都貌似不妥。
0 有用 揣 2016-02-25 00:54:18
刷了两遍然而有待再刷
0 有用 Cardi Bee 2013-10-19 21:59:14
这本书疯狂举中国的例子以至于读着读着就会以为在读研究中国的书
0 有用 Kida 2015-05-18 00:02:30
关于现代艺术已然全球化并不存在特定地域和文化背景的人能够最好的解读这个观点还是蛮认同的，至于说艺术品已然成为全球流通的一种货币这种事我就呵呵了
0 有用 i-Kuma 2014-06-15 14:28:03
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