By David Joselit
Paintings as we all know it really is dramatically altering, yet renowned and significant 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 expertise, which permits pictures to be reformatted and disseminated without difficulty, and the exponential acceleration of cultural trade enabled via globalization, artists and designers are emphasizing networks as by no means sooner than. the most fascinating modern paintings in either fields is now in line with visualizing styles of dissemination after gadgets and constructions are produced, and when they input into, or even identify, various networks. Behaving like human se's, artists and designers kind, catch, and reformat present content material. artworks crystallize out of populations of pictures, and structures emerge out of the dynamics of the stream styles they're going to house.
Examining the paintings of architectural corporations comparable to OMA, Reiser + Umemoto, and international place of work, in addition to the paintings of Matthew Barney, Ai Weiwei, Sherrie Levine, and so forth, After paintings presents 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)
The now dissolved firm’s principals, Farshid Moussavi and Alejandro Zaera-Polo, have described the terminal as a “warped surface” generated from a diagrammatic analysis of its circulation pattern. They write, “On a primary level, the p o p u l at i o n s 8. Foreign Office Architects, Yokohama International Port Terminal, 2002. ’”30 As is often the case with buildings rendered as platforms, architectural form is both derived from circulation patterns and aimed at regulating their velocity. Hand in hand with this emphasis on platforms is the widespread reinvention of buildings as a differential field.
To account for this kind of art, it is not sufficient to derive a “meaning” from either its ostensible content or its formal structure. In the case of Levine’s Postcard 13. Rachel Harrison, Tiger Woods, 2006. Wood, chicken wire, polystyrene, cement, Parex, acrylic, spray paint, video monitor, DVD player, NYC Marathon video, fake apple, sewing pins, lottery tickets, and Arnold Palmer Arizona Lite Half & Half green tea lemonade can, 79 × 48 × 43 in. 2 cm). 38 Collage, for instance, this would lead to two equally inadequate interpretations: either the patently ridiculous contention that the work is “about” the seascape that each postcard represents or the less absurd but still incorrect conclusion that it is “about” mechanical reproduction.
Reiser + Umemoto Architects, Shenzhen Bao’an International Airport project, 2007. 31 by subsuming both figure and ground within a unified field of variable intensity where function inheres not in any single element but in systemic concentrations of elements. Artists have invented analogous strategies of aggregation and variation to demonstrate the behavior of images within populations. The crux of this effort is to shift the figure/ground dynamic from the internal composition of an artwork, to a broader oscillation between the work and its aesthetic environment.