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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與其說是學術論述倒不如說是一份關於當下如何通過藝術和策展進行有效的institutional critique的manifesto。在圖像爆炸的當下，藝術和其美學開始遵守epistemology of search engine，而藝術作為一種圖像流通的格式（format）連通瞭具有特定美學和哲學意識形態的社會資本和金融資本。本著以其人之道還治其人之身的原則，Joselit提齣理想的藝術傢或策展人要去揭示單個圖像/藝術品和其圖像網的關係，同時提齣巧用這種格式的權力，把藝術變為一種非金錢性質的流通貨幣，創造齣支持圖像再分配行為的空間（image commons)。可讀性和可行性都考慮到，深入淺齣，短小精悍，沒有掉冗餘的書袋，真是難得。
评分刷瞭兩遍然而有待再刷
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
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