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.
具體描述
讀後感
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用戶評價
首先引用本雅明有硬傷，然後圖像作為貨幣流通的比喻部分否認瞭原創的可能性，人物、事件、地點、物品的再組閤成為瞭圖像力量的來源，甚至讓博物館和美術館超越大學成為政治參與的代替者，這些說法都貌似不妥。
评分關於現代藝術已然全球化並不存在特定地域和文化背景的人能夠最好的解讀這個觀點還是蠻認同的，至於說藝術品已然成為全球流通的一種貨幣這種事我就嗬嗬瞭
评分何がちょっと…
评分首先引用本雅明有硬傷，然後圖像作為貨幣流通的比喻部分否認瞭原創的可能性，人物、事件、地點、物品的再組閤成為瞭圖像力量的來源，甚至讓博物館和美術館超越大學成為政治參與的代替者，這些說法都貌似不妥。
评分藝術站在現實角度，的確是一個monetized commodity, 但是不可避免的不光是價格，還有文化價值。對於當代藝術，作者提齣searchibility 的重要性，但是這些再創造並不代錶藝術，隻是現在趨勢。創新不是再創造，而是跳入下一個era.
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