PRINT Summer 2013


Pavel Büchler, Modern Paintings No. A47   (blue and red abstract, Manchester, August 2007), 1997–2007, reclaimed paint on canvas, 30 x 26 3/4". From “The Confidence Man,” 2011, Tanya Leighton Gallery, Berlin.

ARE WE LIVING IN AN AFTERMATH? The unspoken consensus seems to be that, in relation to the art of the previous decade, the early 2010s are a caesura—a waiting period at best, analogous to the early 1970s in relation to the ’60s, or the early ’90s in relation to the ’80s. Those older historical moments were not just lulls, however, but scenes of profound discursive and technological mutation. And likewise, over the past few years, a set of technical innovations have arisen that have reconfigured conditions for the production and distribution of art. Although this phenomenon was barely noticed as it began unfolding, the start of this decade marked a point at which hardware and software came together to produce a qualitatively different kind of image.

Such changes in technology and art are often only belatedly sensed, and they cut both ways. Today, for example, modernist forms

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