Joselit argues forcefully that art functions as a form of . He draws an analogy between international art and major currencies: "the dollar, the euro, the yen, and the renminbi." Major museums become the "banking houses" of this alternative economy, brokering the value of artworks as they circulate through networks.
If art is everywhere, what is the role of the artist? Joselit suggests that the artist is no longer just a creator, but a of networks.
In the digital age, power no longer belongs solely to the creator of an image, but to the entities that control its distribution. Images gain value not by remaining rare or hidden in a private collection, but by being seen, shared, remixed, and repurposed. The more an image circulates, the more cultural and political capital it accrues. Art as Information
In this short but dense book (often shared as a PDF in seminars), Joselit argues that we have moved beyond the image as a static object. Instead, art’s primary function today is . He asks: What happens to art when it is designed to be shared, appropriated, and reformatted across screens? after art david joselit pdf
For decades, art theory was dominated by the concept of "medium specificity"—the idea that painting should look like painting, and sculpture should explore three-dimensional space. Joselit replaces "medium" with A format is not tied to a specific material. Rather, it is a mechanism for capturing, storing, and deploying images across various platforms. A digital file, a traveling biennial exhibition, or a branded architectural space are all formats. They allow images to morph and adapt to different contexts without losing their underlying data structure. 2. The Readymade 2.0
The introductory chapter holds the foundational manifesto of Joselit’s theory, widely used for quick reference.
It provides a vocabulary (format, currency, network) to discuss internet art, memes, and the commercialization of digital spaces. Joselit argues forcefully that art functions as a form of
For centuries, Western art history prioritized the unique, static object—the masterpiece hanging on a gallery wall. Joselit posits that this era has ended. We now live in a state of "after art," a period where the sheer volume of images has exploded due to digital technology and global communication.
Art's value is no longer tied to its scarcity or exclusivity.
Joselit’s primary objective in After Art is to shift our critical focus away from what an artwork is (its form or medium) and toward what it does (its circulation and connectivity). Joselit suggests that the artist is no longer
One of the most celebrated distinctions in the book is the transition from "form" to "format."
The between Joselit's concepts of "medium" and "format"
The text is a call to move past "institutional critique" and embrace the power of . It suggests that for art to remain relevant, it must capitalize on its ability to project visibility and create new social and political circuits.