: Images gain "potency" by connecting to diverse nodes in a network. The more an image is remediated and shared, the more influence it exerts.
Joselit’s work challenges the traditional art museum’s focus on the physical object, pointing instead toward a "weightless" image art that matches our experience of a globalized, hyper-connected world. He argues that artists like Ai Weiwei and Sherrie Levine are not just making objects, but managing "image traffic" to project visibility and influence across borders. Фонд V–A–C After Art by David Joselit (review) - Project MUSE after art david joselit pdf
doesn't refer to the end of creative practice, but to the end of art as a culturally privileged, self-contained object. In the digital age, images behave like currency; their power is not in their "aura" or unique origin, but in their ability to be reformatted, disseminated, and reaggregated. Project MUSE Epistemology of Search : Images gain "potency" by connecting to diverse
David Joselit’s (2013) is a foundational text in contemporary art theory that argues art's value has shifted from the creation of original objects to the circulation and networking of images . In the digital age, artists act less like traditional creators and more like animated search engines , reformatting and disseminating existing visual content. 🌐 Core Concepts and Key Arguments He argues that artists like Ai Weiwei and
, theorist suggests that art as we traditionally knew it—as a singular, medium-bound object—is evolving into something much more powerful and fluid: the networked image . From Objects to Currencies