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After Art
David Joselit
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Geisteswissenschaften, Kunst, Musik / Kunst
Beschreibung
How digital networks are transforming art and architecture
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.
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Hans Belting, Michael Hardt, Ai Weiwei, Postcard, Public sphere, Sherrie Levine, Roselee Goldberg, De Stijl, Antonio Negri, The Society of the Spectacle, Conceptual art, Diagram, Tourism, Art world, Contemporary art, Modern architecture, Walker Evans, Guggenheim Museum Bilbao, Digital photography, Acropolis Museum, Rachel Harrison, Museum, Financial capital, Art museum, Manifesto, Institution, Michel Foucault, Alejandro Zaera-Polo, Matthew Barney, Parametricism, Overproduction, Boris Groys, Ownership, Damien Hirst, Globalization, Le Corbusier, Alexander Nemerov, Art history, Commodity, Kunsthalle Wien, Work of art, Curator, Ideology, Instance (computer science), Andy Warhol, Customer, Frank Gehry, Repatriation (humans), Hannah Arendt, Bernard Tschumi, Cultural Property (Japan), Wealth, Website, Emblem, Publication, Surrealism, Cultural capital, Oxford University Press, Tania Bruguera, Epistemology, Bruno Latour, Rem Koolhaas, Market economy, Scalability, Visual culture, Creative Commons, Lawrence Lessig, Institutional Critique, Iconology, Social space