Pt. 3/n...towards and/or away from means of image distribution

 

Two things are interesting about reading Sanchez and Bishop together. Note how Bishop’s preference for mainstream ground-floor-gallery art clashes with Sanchez’s nuanced exploration and acceptance of alternative means of image distribution (Contemporary Art Daily, tumblr., etc..). Both are primarily concerned with reception theory, or art’s place in an attention economy. Referencing Bourriaud’s “disembodiment of the internet”, Bishop leaves us to view contemporary art production moving away from the dominant means of image distribution, which she allies with a refusal to “thematize” the "logic of our dominant social field." (Internet centrism, again). Sanchez argues that software produces a “different kind of image.”

 

 

 

 

 

Pt. 1/n...

Sanchez investigates the reconstitution of the image through adaptations to software and hardware, claiming that galleries/artists shift their production to accommodate the format of mobile screens. Sanchez writes about exhibitions that he hasn’t visited—viewing them only on Contemporary Art Daily—upending polite ekphrasis. His analysis is fully committed to art’s reception, relocating the discourse from creation to the networks of distribution. He haunts us with our inevitable de-subjectivisation: How do you craft discourse about a work that appeals to the anxiety of the scroll, truncating the structures that undergird prestige and judgment? Resulting works are addressed to a platform, not aesthetic subjects.