Synopses & Reviews
Though one of the most popular artists of the twentieth century, Salvador Dalandiacute; is typically seen as peripheral to the dominant practices of modernist painting. Roger Rothmanandrsquo;s Tiny Surrealism argues that this marginal position is itself a coherent response to modernism. It demonstrates how Dalandiacute;andrsquo;s practice was organized around the logic of the inconsequential by focusing on Dalandiacute;andrsquo;s identification with things that are literally tiny (ants, sewing needles, breadcrumbs, blackheads, etc.) as well as those that are metaphorically small (the trivial, the weak, the superficial, and the anachronistic). In addition to addressing the imagery of Dalandiacute;andrsquo;s paintings, Tiny Surrealism demonstrates that the logic of the small was a fundamental factor in Dalandiacute;andrsquo;s adherence to the techniques of miniaturist illusionism. Long derided as antimodernist and kitsch, Rothman demonstrates that Dalandiacute;andrsquo;s style was itself a strategy of the small aimed at subverting the dominant values of modern painting.
Tiny Surrealismand#160;does not only examine Dalandiacute;andrsquo;s pictorial work; it also probes the artistandrsquo;s many public pronouncements and private correspondences. By attending to the peculiarities of Dalandiacute;andrsquo;s technique and examining overlooked aspects of his writings, Tiny Surrealism is the first study to detail his deliberate subversion of modernist orthodoxies.
Review
"[A] succulent little book."--Flora Samuel, Times Higher Education
Review
"Joselit, a Yale professor and critic whose previous writings have assiduously observed the intersection of art and tech, lays his argument out with pedagogic steadiness."--Art Review
Review
"[After Art] is insightful and offers countless examples of the cultural and political forces influencing creative arts. . . . [W]ell-referenced and clearly written."--Choice
Review
"This is a short book, no longer than an extended essay, which looks and feels as if it could be read in one sitting, and perhaps it might be, however the ideas stream and rescale in such a way that they encouraged, in this reader, a good deal of flipping back and unraveling in the enjoyment of how the fluent metaphors of art as currency and the real world considerations of architectural navigation actually meet up."--Kieran Lyons, Leonardo Reviews
Review
"Joselit points out a stimulating journey through recent art and architecture where his discourse functions as a sort of guide, complete with images and diagrams, within the illuminating text."--Kieran Lyons, Leonardo Reviews
Review
andldquo;Written in a lucid and readable style appropriate even for the novice student of surrealism, Tiny Surrealism excavates a different side to Dalandiacute;: that of the empathetic, stunningly perspicacious, and vulnerable man, who is always favoring the underdog. . . . Tiny Surrealism has great potential to serve as an introduction to Dalandiacute;andrsquo;s complex oeuvre.andrdquo;andmdash;Abigail Susik, Modernism/Modernity
Review
andquot;Tiny Surrealismand#160;is a solid, nuanced piece of scholarly inquiry. . . . Rothman offers a fresher perspective and a richer vocabulary to rethink Dalandiacute;and#39;s place in the surrealist universe.and#160;Tiny Surrealismand#160;successfully rescues Dalandiacute; from such unfair critical isolation and sheds overdue light on the intricacies of such a multidimensional artist.andquot;andmdash;Pablo Baler,and#160;Hispania
Review
andquot;Undergraduates and general audiences will find distinct new approaches to the well-known but inadequately analyzed artist Dalandiacute;. Rothmanand#39;s book opens pathways to insert Dalandiacute; into the scholarly discourses surrounding modern art.andquot;andmdash;Choice
Review
andldquo;Rothmanandrsquo;s book is a creative, readable, and invigorating reevaluation of the early career of Salvador Dalandiacute;, one of the most recognizable figures in twentieth century art and intellectual history, yet also one of the most vexing and misunderstood. . . . Rothmanandrsquo;s discussions of Dalandiacute;andrsquo;s texts and paintings are consistently enlightening and provocative, and the book promises to make a substantive impact in the fields of modernism and surrealism.andrdquo;andmdash;Jonathan Eburne, author ofand#160;Surrealism and the Art of Crime
Review
andldquo;The strength of this studyandmdash;in fact, its undeniable contribution to our knowledge of Dalandiacute;andmdash;lies in its very detailed and comprehensive expositionandmdash;indeed the close and quite perceptive analysis of the andlsquo;little things,andrsquo; as they emerge in Dalandiacute;andrsquo;s early works. . . .and#160;Tiny Surrealism is a valuable contribution to a more comprehensive understanding of Dalandiacute;andrsquo;s art and aesthetics.andrdquo;andmdash;Haim Finkelstein, author ofand#160;Salvador Dalandiacute;and#39;s Art and Writing, 1927andndash;1942
Synopsis
How digital networks are transforming art and architecture
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.
-- "Art Review"
Synopsis
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.
Synopsis
"Pertinent and intelligent, After Art will be of great interest to art historians and readers of contemporary art and media theory."--Sylvia Lavin, author of Kissing Architecture
Synopsis
"Standing at the intersection of media studies, architectural criticism, and art history, David Joselit's
After Art confronts the question of contemporary art in an age of proliferating networks. Joselit tracks the literal and epistemic 'states of form' of recent visual culture and offers a powerful new model for thinking about art's circulation and currency."
--Pamela M. Lee, Stanford University"David Joselit's concisely argued After Art might well have been entitled After Aura as he elegantly replies to Walter Benjamin's sense of art's loss of power with the introduction of technological reproduction. Instead, Joselit makes a persuasive case for the reinvigoration of the power of the image in contemporary artistic and architectural production as a result of the distributive capacity of communication networks."--Anthony Vidler, The Cooper Union
"Pertinent and intelligent, After Art will be of great interest to art historians and readers of contemporary art and media theory."--Sylvia Lavin, author of Kissing Architecture
Synopsis
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.
Synopsis
"Standing at the intersection of media studies, architectural criticism, and art history, David Joselit's After Art confronts the question of contemporary art in an age of proliferating networks. Joselit tracks the literal and epistemic 'states of form' of recent visual culture and offers a powerful new model for thinking about art's circulation and currency."--Pamela M. Lee, Stanford University
"David Joselit's concisely argued After Art might well have been entitled After Aura as he elegantly replies to Walter Benjamin's sense of art's loss of power with the introduction of technological reproduction. Instead, Joselit makes a persuasive case for the reinvigoration of the power of the image in contemporary artistic and architectural production as a result of the distributive capacity of communication networks."--Anthony Vidler, The Cooper Union
"Pertinent and intelligent, After Art will be of great interest to art historians and readers of contemporary art and media theory."--Sylvia Lavin, author of Kissing Architecture
Synopsis
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.
Synopsis
"Standing at the intersection of media studies, architectural criticism, and art history, David Joselit's
After Art confronts the question of contemporary art in an age of proliferating networks. Joselit tracks the literal and epistemic 'states of form' of recent visual culture and offers a powerful new model for thinking about art's circulation and currency."--Pamela M. Lee, Stanford University
"David Joselit's concisely argued After Art might well have been entitled After Aura as he elegantly replies to Walter Benjamin's sense of art's loss of power with the introduction of technological reproduction. Instead, Joselit makes a persuasive case for the reinvigoration of the power of the image in contemporary artistic and architectural production as a result of the distributive capacity of communication networks."--Anthony Vidler, The Cooper Union
"Pertinent and intelligent, After Art will be of great interest to art historians and readers of contemporary art and media theory."--Sylvia Lavin, author of Kissing Architecture
About the Author
David Joselit is the Carnegie Professor of the History of Art at Yale University. His books include American Art Since 1945 (Thames & Hudson) and Feedback: Television against Democracy.
Table of Contents
Acknowledgments xi
Preface xiii
Image Explosion 1
Populations 24
Formats 55
Power 85
Notes 97
Credits 115