After Art / / David Joselit.
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 refor...
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| Superior document: | Title is part of eBook package: De Gruyter Princeton University Press eBook-Package Backlist 2000-2013 |
|---|---|
| VerfasserIn: | |
| Place / Publishing House: | Princeton, NJ : : Princeton University Press, , [2012] ©2013 |
| Year of Publication: | 2012 |
| Language: | English |
| Series: | POINT: Essays on Architecture ;
2 |
| Online Access: | |
| Physical Description: | 1 online resource (136 p.) :; 39 color illus. 1 halftone. |
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| LEADER | 06959nam a22018855i 4500 | ||
|---|---|---|---|
| 001 | 9781400845149 | ||
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| 020 | |a 9781400845149 | ||
| 024 | 7 | |a 10.1515/9781400845149 |2 doi | |
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| 050 | 4 | |a N71 |b .J68 2013 | |
| 072 | 7 | |a ART009000 |2 bisacsh | |
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| 100 | 1 | |a Joselit, David, |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
| 245 | 1 | 0 | |a After Art / |c David Joselit. |
| 264 | 1 | |a Princeton, NJ : |b Princeton University Press, |c [2012] | |
| 264 | 4 | |c ©2013 | |
| 300 | |a 1 online resource (136 p.) : |b 39 color illus. 1 halftone. | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a text file |b PDF |2 rda | ||
| 490 | 0 | |a POINT: Essays on Architecture ; |v 2 | |
| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Acknowledgments -- |t Preface -- |t Image Explosion -- |t Populations -- |t Formats -- |t Power -- |t Notes -- |t Credits -- |t POINT: Essays on Architecture |
| 506 | 0 | |a restricted access |u http://purl.org/coar/access_right/c_16ec |f online access with authorization |2 star | |
| 520 | |a 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. | ||
| 538 | |a Mode of access: Internet via World Wide Web. | ||
| 546 | |a In English. | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 27. Jan 2023) | |
| 650 | 0 | |a Art and society. | |
| 650 | 0 | |a Art |x Psychology. | |
| 650 | 7 | |a ART / Criticism. |2 bisacsh | |
| 653 | |a Acropolis Museum. | ||
| 653 | |a Ai Weiwei. | ||
| 653 | |a Alejandro Zaera-Polo. | ||
| 653 | |a Alexander Nemerov. | ||
| 653 | |a Andy Warhol. | ||
| 653 | |a Antonio Negri. | ||
| 653 | |a Art Basel. | ||
| 653 | |a Art history. | ||
| 653 | |a Art museum. | ||
| 653 | |a Art world. | ||
| 653 | |a Arthur Danto. | ||
| 653 | |a Bernard Tschumi. | ||
| 653 | |a Bill Ayers. | ||
| 653 | |a Boris Groys. | ||
| 653 | |a Bruno Latour. | ||
| 653 | |a Calculation. | ||
| 653 | |a Capitalism. | ||
| 653 | |a Clement Greenberg. | ||
| 653 | |a Commodity. | ||
| 653 | |a Conceptual art. | ||
| 653 | |a Contemporary art. | ||
| 653 | |a Creative Commons. | ||
| 653 | |a Cultural Property (Japan). | ||
| 653 | |a Cultural capital. | ||
| 653 | |a Curator. | ||
| 653 | |a Customer. | ||
| 653 | |a Damien Hirst. | ||
| 653 | |a De Stijl. | ||
| 653 | |a Decolonization. | ||
| 653 | |a Diagram. | ||
| 653 | |a Digital photography. | ||
| 653 | |a Dissemination. | ||
| 653 | |a Electronic Disturbance Theater. | ||
| 653 | |a Emblem. | ||
| 653 | |a Epistemology. | ||
| 653 | |a Financial capital. | ||
| 653 | |a Frank Gehry. | ||
| 653 | |a Globalization. | ||
| 653 | |a Guggenheim Museum Bilbao. | ||
| 653 | |a Hannah Arendt. | ||
| 653 | |a Hans Belting. | ||
| 653 | |a High culture. | ||
| 653 | |a Iconology. | ||
| 653 | |a Ideology. | ||
| 653 | |a Illegal immigration. | ||
| 653 | |a Income. | ||
| 653 | |a Infrastructure. | ||
| 653 | |a Instance (computer science). | ||
| 653 | |a Institution. | ||
| 653 | |a Institutional Critique. | ||
| 653 | |a Kunsthalle Wien. | ||
| 653 | |a Lawrence Lessig. | ||
| 653 | |a Le Corbusier. | ||
| 653 | |a MIT Press. | ||
| 653 | |a Manifesto. | ||
| 653 | |a Market economy. | ||
| 653 | |a Matthew Barney. | ||
| 653 | |a Michael Hardt. | ||
| 653 | |a Michel Foucault. | ||
| 653 | |a Modern architecture. | ||
| 653 | |a Modernism. | ||
| 653 | |a Museum. | ||
| 653 | |a Narrative. | ||
| 653 | |a Neoliberalism. | ||
| 653 | |a Newspaper. | ||
| 653 | |a Overproduction. | ||
| 653 | |a Ownership. | ||
| 653 | |a Oxford University Press. | ||
| 653 | |a Parametricism. | ||
| 653 | |a Photography. | ||
| 653 | |a Postcard. | ||
| 653 | |a Public sphere. | ||
| 653 | |a Publication. | ||
| 653 | |a Rachel Harrison. | ||
| 653 | |a Rem Koolhaas. | ||
| 653 | |a Repatriation (humans). | ||
| 653 | |a Rhetoric. | ||
| 653 | |a Richard Meier. | ||
| 653 | |a Rirkrit Tiravanija. | ||
| 653 | |a Rosalind E. Krauss. | ||
| 653 | |a Roselee Goldberg. | ||
| 653 | |a Saskia Sassen. | ||
| 653 | |a Scalability. | ||
| 653 | |a Sherrie Levine. | ||
| 653 | |a Social space. | ||
| 653 | |a Subodh Gupta. | ||
| 653 | |a Surrealism. | ||
| 653 | |a T. J. Clark (art historian). | ||
| 653 | |a Tactical media. | ||
| 653 | |a Tania Bruguera. | ||
| 653 | |a The Society of the Spectacle. | ||
| 653 | |a Tourism. | ||
| 653 | |a Understanding. | ||
| 653 | |a Venice Biennale. | ||
| 653 | |a Visual culture. | ||
| 653 | |a Walker Evans. | ||
| 653 | |a Walter Benjamin. | ||
| 653 | |a Wealth. | ||
| 653 | |a Website. | ||
| 653 | |a Work of art. | ||
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