Sixties and seventies art criticism and separated the phenomenological experience of the virtual wo

22 August., On Thursday, 18 hours. Vilnius Academy of Design Innovation Centre (DIC), a 112. (Maironio g. 3, Vilnius) will be held in the Yale University judy mclane Art History Professor David Joselito lecture "picture judy mclane more" judy mclane (A Multitude of Images). This is the first contemporary art practice and theory for the lecture series "The new realism in contemporary judy mclane art" event. judy mclane Introducing David Joselito interview with The Brooklyn Rail (New York) magazine Art Books in Review "section in one of the editors of artist Greg Linquistu.
Joselito David: It started judy mclane out as a series of lectures, which I was reading while working KIRK Vamedoe professor at the Institute of Fine Arts at New York University. The problem, which themselves are moving out, was to understand the methodology to explore the art in the context of network links. What happens when the images begin to circulate as a population, in contrast to the individual works and as works of art can be seen in any other way than by the one side, giving them the market price, and on the other, the traditional art historical perspective by providing artwork meaning. judy mclane Instead, I wanted to think about the behavior of groups of images, and the activities of groups like the circulation of images is the same theme works.
DJ: Yes. I think that in many cases, their work, I try to understand the forms of networks, and how it permeates the focus objects. Objects and networks are inseparable, they are for a number of related, and I wanted to think about how they intersect, very materially in different contemporary art practices. "Painting Beside Itself" I wrote about the almost traditional way of the type of art objects, and some would say the most damaged market - painting. I spoke about it considering how conceptual art provisions on the circulation of ideas, dematerialisation of the work, and the importance of migration can be returned to the subject. So, "After Art", one might say, there is a painting of topics extension to more spacious art practitioners economy.
GL: You begin to "Painting Beside Itself" Kippenbergerio judy mclane paintings networks present in the installation of architectural space. Where your manynu judy mclane this image circulating idea intrudes into the current art history?
DJ: Minimalism sought judy mclane to create an empty object or Typologically versions. So, minimalism thing itself or its properties are less important than the way in which it operates an observer in space, while painting proposes a virtualization. It occupies an intermediate position between the strange and phenomenological virtual planes.
Sixties and seventies art criticism and separated the phenomenological experience of the virtual world - partly, perhaps, it was a response to the new media, such as television, the spread. This image saturated world in which we now live, virtuality judy mclane is phenomenological judy mclane (or embodied) in ways that are mentioned in your previous generation of artists has not yet been acknowledged.
Video art is an interesting example of how the virtual space of the monitor - for example, Joan Jonas and Vito Acconci, Bruce Naumann and Lyndos Bengla creativity - is imparted as phenomenological space is full of opposites. But only much later in the eighties, with the appropriation strategy simulation is entering into these phenomenological debate.
GL: In the current judy mclane state of globalization and networking experience physical work of art really is decentralized. You're speaking about the importance of the circulation of images of Marcel Duchamp's urinal [Fountain, 1917]. Do you agree that the idea of a network of art history can be traced so long ago?
DJ: Yes, I think so. Readymade strategy is the simultaneous judy mclane playback (Reenactment) strategies (at least in Duchamp's career), and the latter is related to the circulation. It is very important in terms of Duchamp is that it work "Large Glass" separated the graph, or as I like to call it - the visual shape of the discourse of values, providing fiber notes, judy mclane how to interpret this very mysterious and complex work. The interesting thing is that he made those records creation, accurately reproducing the work of the Green Box. These notes circulated separately from the chart, from the Large Glass. The usual meaning of art piece topography is such that the value placed near or below the work of art. In this case, these values were presented as a separate work and thus figure and discourse both lived their lives, sometimes competing, sometimes not. This is one of the ways in which Duchamp showed different physical and visual discourse judy mclane circulation speeds.
DJ: Yes, I think that kartočių (Multiple) production is a very interesting little publicized story of the twentieth century. art; such as Daniel Spoerri printed remarks, Dieter Roth remarks judy mclane - there are plenty of artists who have thought about repeatedly.
DJ: Latour judy mclane assemblages as networking, embedded in everyday social relations, the concept was very important to me. Being a critic of my work I tried to refuse importance art piece searches and better capture the origin of connections p