By David Joselit

Paintings as we all know it really is dramatically altering, yet renowned and important responses lag at the back of. during this trenchant illustrated essay, David Joselit describes how paintings and structure are being remodeled within the age of Google. below the twin pressures of electronic expertise, which permits photographs 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. probably the most attention-grabbing modern paintings in either fields is now in line with visualizing styles of dissemination after items and buildings are produced, and once they input into, or even determine, diversified networks. Behaving like human se's, artists and designers variety, trap, and reformat present content material. artworks crystallize out of populations of pictures, and structures emerge out of the dynamics of the movement styles they're going to house.
Examining the paintings of architectural agencies similar to OMA, Reiser + Umemoto, and international place of work, in addition to the artwork of Matthew Barney, Ai Weiwei, Sherrie Levine, and so on, After paintings presents a compelling and unique concept of artwork and structure within the age of world networks.

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Sample text

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.

1 in. (200 × 300 cm). 20 velocity as a cultural product. Take for example the first Chinese artists to gain prominence in the West—­those associated with so-­called Cynical Reason and Political Pop, such as Wang Guangyi (figure 5). His works, which often take twentieth-­ century Chinese political icons as their motifs, have the perfect formula for success in a global art world: they carry a quantum of native “Chinese­ness,” but their mobilization of familiar Western art styles makes it possible for them to communicate this unfamiliar and even “exotic” content to a broad range of audiences with little knowledge of China.

39 Kenneth Frampton evocatively describes this effect as “a topographic itinerary in which the floor planes bend upwards to form ramps and stairs . . ’”40 This centrifugal unfolding of architectural surface as a platform for art is very different from the centripetal dynamic I have discussed in which meanings from a behind-­beside-­within-­before are directed inward to bolster an object. ” I think Pierre Huyghe had something like Le Corbusier’s model of spatial unfolding in mind when he defined his art as “a dynamic chain that passes through different formats,”41 or when he commented, “A film is a public space, a common place.

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