Journal articles on the topic 'David joselit'

In a brief excerpt from his book Heritage and Debt: Art in Globalization (MIT, Spring 2020), David Joselit discusses how global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism.

A wide-ranging conversation between artist Amy Sillman, Museum of Modern Art curator Michelle Kuo, and October editor David Joselit on Sillman's influential Artist's Choice exhibition, The Shape of Shape, presented in the reopening of MoMA's galleries in 2019. Topics range from the re-introduction of intuition into histories of contemporary painting to strategies for expanding the modernist canon.

David Joselit argues that although the politicization of information and fake news is nothing new—facts, after all, have always been ratified by power, and standards of evidence are historically specific—the mode of its authentication is now in crisis. He describes this condition as a state of cognitive conflict in which different species of knowledge battle one another for pre-eminence, rather than reach for an agonistic but productive political translation or negotiation. Adopting the concept of cognitive justice as theorized by Boaventura de Sousa Santos, Joselit proposes that under Trumpism art can be a resource for working out a politicized and materialized, even formal, theory of information. By tracking the plasticity of information—the shapes it assumes through circulation, shifts in scale and saturation, and its velocities and frictions—which is deeply enmeshed in relations of power, post-Conceptual art can have real purchase on cognitive justice.

Artist Lucy Raven speaks with David Joselit about her multidisciplinary practice and contemporary notions of image-making and viewing. Reflecting on the production and circulation of both analog and digital images—how they function, where they come from, and how they get distributed—Raven's animated films aim to denaturalize the process of viewing and draw attention to the ways in which films are inextricably bound up in complex systems of global commerce and finance.

“A Questionnaire on Monuments” features 49 responses to questions formulated by Leah Dickerman, Hal Foster, David Joselit, and Carrie Lambert-Beatty: “From Charlottesville to Cape Town, there have been struggles over monuments and other markers involving histories of racial conflict. How do these charged situations shed light on the ethics of images in civil society today? Speaking generally or with specific examples in mind, please consider any of the following questions: What histories do these public symbols represent, what histories do they obscure, and what models of memory do they imply? How do they do this work, and how might they do it differently? What social and political forces are in play in their erection or dismantling? Should artists, writers, and art historians seek a new intersection of theory and praxis in the social struggles around such monuments and markers? How might these debates relate to the question of who is authorized to work with particular images and archives?”

Commodities play an integral role in the creation and maintenance of personas - to such a degree that they begin to take on characteristics of labor, provenance, and politics, such as distressed clothing or fair trade labels. This essay proposes that we have begun to freight our commodities with their own personas and imagined subjecthoods, and that this shift is foreshadowed in the transformation of artistic practices in the late twentieth century.Two theories on the status of contemporary artworks have come to recent prominence - David Joselit’s “Painting Beside Itself,” which argues that artworks need image not just their status as commodities but rather their circulation and [social] networks, and Isabelle Graw’s claim that artworks are being reconsidered as imaginary “quasi-subjects.” Thus, artworks are being equated with persons, not by their looks but by their actions. This new apprehension of objects finds its own roots in American sculptural debates of minimalism in the late 1960’s, where theorists resorted to ascribing subjectivities to objects to account for the relentless anthropomorphism of even those works which attempted to fully excise the human form.Proponents of “quasi-subjecthood” argue from two tacks: the object either is a subject of its own, or is propped on the “ghostly presence” of its maker. I believe this indicates two predominant characterizations of commodities: full subjects, or signs of an absent maker. Both arguments flirt with a fetishism that, in giving personas and personalities to objects, threatens to erase the social conditions in which each object is made. However, there may be a way in which these imaginaries can be harnessed as prosthetics for our communities. This essay explores possible avenues for artists and critics to create ethical objects for societies of art.

CASE
 A 46 year old Filipino male with no known co-morbidities was referred for progressive deformity of his nose over a 19- month period. He was initially treated by Dermatology for a few months with topical 1% hydrocortisone cream and various antibiotics including oral tetracycline 250 mg twice a day, but the condition persisted (Figure 1). He was diagnosed to have rhinophyma which was excised using coblation®, and the deformity was reshaped to a normal nasal contour (Figure 2). Antibiotic-impregnated non-adherent gauze was applied, and wound care continued until re-epithelialization occurred in three to four weeks (Figure 3). There was no recurrence of the rhinophyma on follow-up at 6 months (Figure 4).
 DISCUSSION
 Rhinophyma is a descriptive term from the Greek word “rhis” meaning nose and “phyma” meaning growth.1 Common among white males between 40 and 60 years of age, it is characterized by soft-tissue hypertrophy of the nose due to progressive thickening of nasal skin. Males are predominantly afflicted with a ratio to females of about 5:1 to 30:1.2 It may also be found in children, although rarely.3 Rosacea progressing to acne rosacea is the only clearly associated entity and precursor of rhinophyma. This begins as an increased facial redness in adolescents and young adults and can involve other facial regions. The vessels of the nose would become progressively dilated, skin thickening occurs, and may become oily. The nose thickens at the tip and the sebaceous glands hypertrophy. As the deformity worsens, fissures, pits, lobulations and pedunculations grotesquely change the shape of the nose. Rebora described four stages: the pre-rosacea stage where frequent facial flushing is seen; the vascular rosacea stage of thickened skin, telangiectasias, and erythema; the inflammatory stage with erythematous papules and pustules; and the fourth stage, which he described as rhinophyma.2
 The pathophysiology begins with vascular instability leading to a loss of fluid into the dermal interstitium, which causes inflammation and fibrosis. There is sebaceous gland hyperplasia and hypertrophy and the ducts become elongated, dilated and plugged.1 Rhinophyma has two distinct histopathologic appearances. The most common shows histopathologic features of rosacea and the second pattern shows telangiectasia, diffuse dermal fibrosis with abundant mucin, and a virtual absence of pilosebaceous structures.4 This can also occur with cyclosporine use.5 Demodex folliculorum mites regularly reside in the pilosebaceous units and may be seen in histologic sections.1 Grahan and Mc Gavran (1964)2 demonstrated that basal cell carcinomas occur in direct proportion to the concentration of sebaceous glands in sun-exposed skin.
 Medical treatment has been limited to avoidance of stimulation factors, appropriate cleanliness, and treatment of secondary infection and inflammation with topical and systemic antibiotics and steroids.1 Once the violaceous, hypertrophic, bulbous stage of the disease becomes manifest, only surgical manipulation (of which many methods exist) can reverse the deformity.1 
 Originally, all surgeries were skin grafted, as this condition would recur. The first and oldest method of excision is the cold knife technique which has less risks of scarring and hypo pigmentation according to Redett.2 Linehan demonstrated faster re-epithelialization with similar aesthetic results compared to electro-surgery, which was first reported for rhinophyma in 1950 by Rosenberg2. The latter’s main advantage was hemostasis. The CO2 laser was first reported by Shapshay in 19802 who claimed that it was more hemostatic, with easier postoperative care. In 1983, Wenig2 was the first to use Argon laser for rhinophyma and advocated its use for hemostasis and on telangiectasias but states that it is a poor instrument for debulking. Eisen2, in 1986, reported the use the Shaw scalpel (Hemostatix™ Medical Technologies, Bartlett, TN) for rhinophyma. The YAG laser was used by Wenig in 1993 with equally cosmetic results and shorter healing times compared to C02 laser2.
 Dermabrasion is another technique used in rhinophyma, usually as an adjunct to other methods2. The Bovie® (Bovie Medical Corporation, St. Petersburg, FL) coagulator readily destroys sebaceous glands by low temperature, forming the theoretic basis for cryosurgery with the advantage of minimal bleeding and pain. The microdebrider6 and FloSeal (Fusion Medical Technologies Inc, Mountan View, CA) are also adjuncts in the surgical treatment of rhinophyma which provide satisfactory results. Coblation® (ArthroCare Corporation, Austin, TX) is a relatively new technique in soft tissue surgery that was introduced in 19977-8. The dissection technique involves passing bipolar radiofrequency energy to ablate and coagulate soft tissue without thermal energy. This supposedly results in less surrounding tissue damage producing less pain, less bleeding and shorter operating time. Since there appears to be no distinct advantages in the different therapeutic modalities, no one modality is universally endorsed.
 
 
 ACKNOWLEDGEMENT
 I would like to give my heartfelt thanks to Dr. Natividad A. Aguilar, Dr. Joselito F. David, Dr. Ryan Neil C. Adan, Dr. Cristopher D. Urbis, Dr. Terence Jason J. Flores and my co-residents who made this discussion possible.

David Joselit’s slim volume "After Art" offers multiple intriguing frameworks to analyze art in the present-day globalized art world. After Art backs away from the traditional approach of artist intent and production and looks at what happens to images once they are attached to the networks that circulate them. Instead of proselytizing individual or even original artworks, Joselit champions images that are constantly reproduced and remediated by artists and architects such as Tania Bruguera, Ai Weiwei, Sherrie Levine, Matthew Barney, Le Corbusier, and Rem Koolhaus.

Introduction Collaboration converges with adaptation insofar as collaborative practice involves an adaptation of the differences amongst collaborators with the aim of achieving a seamless blending of personalities and practices. By contrast, this article addresses the topic of the convergence potentials between collaboration and adaptation in those cases where the unmitigated differences across personnel and practices maximize the cultural significance of a project. The case study under review here appears linked to an unusually deep level of engagement with the concerns of its audience, which suggests the significance, more generally, of combining collaboration with a ‘difference-oriented’ notion of adaptation. Adaptation, thus, has the potential to open up new vistas in collaboration’s cultural impact. The case study, of which I am the director, is a multi-product, multi-person ‘adaptation portfolio’ designed as an intervention into urban identity issues affecting the inhabitants of Gold Coast City, Queensland, Australia. Through my analysis in this article, I propose that collaboration benefits from cross-fertilization with adaptation in two ways. Firstly, adaptation acts as a wellspring for potentially more radical modes of ‘participant-centred’ collaboration and, secondly, adaptation suggests an extension of collaborative activity into the non-participant, or what might be termed the ‘intra-textual’, domain. The Case Study My adaptation portfolio contains a short story (‘Now You Know What Women Have to Put Up With All of the Time’ [West]), a short film script (‘Passion Play’ [West]), a short film, a film set installation-art exhibition, an artistic website, an exhibition of still photography and cinematography, and an example of inter-genre writing (‘Intercut’ [West]). I am the author, as indicated, of three of these products. The rest are being produced by artists who operate, as I do, in the Gold Coast region. With the project still in progress, the conditions are now ripe for considering the methodological issues that subtend the development of the final set of products. The diversity of the portfolio is anchored (although, importantly, not pre-determined) by the narrative of my short story, which insinuates itself along the creative product spectrum of my collaborators. The first paragraph of the story summarizes its plot and instigates its insouciant tone: “You can’t just shove a mate into the back seat of a taxi, fling the driver a hundred bucks, then say, ‘take him anywhere’. Can you?” (West, ‘Now’ 2) The mate in question is Blair Beamish, a young man on his buck’s night, who is turned upon by his supposed friends. His ‘crime’ is to create a rift in the homo-social compact binding the group. They dispatch him on a taxi trip to ‘anywhere’ as a humiliating prank. Blair must then sort out his sexual desires and life choices. At the taxi driver’s whim, his trip weaves along the highways and byways of Gold Coast City. In this way, Blair’s identity is forced into a series of ‘interfaces’ with the city, which draws attention to issues of identity construction in relationship to exopolitanism as theorized by Edward Soja. Exopolitanism and the Adaptation Portfolio It quickly became apparent that my case-study project of creative engagement with questions of identity in Gold Coast City required a multi-product approach as a foil for the nature of the place itself. Gold Coast City is an ‘exopolitan’ site, in Soja’s classic sense of that term: “perched beyond the vortex of the old agglomerative nodes, [spinning] new whorls of its own, turning the city inside-out and outside-in at the same time” (Soja 95). Similarly, Patricia Wise notices its “routine fragmentation and partiality” (Wise). Gold Coast City is a place of multiplicities and, so, multiplicities—at least, a multiplicity of creative products—are required to expose, if not to mollify, the effects of the place on its half million inhabitants. And a genuine multiplicity—a convergence of differences freed from any single dominant term—is best generated via a multi-person approach. Regarding the effects of exopolitanism, Celeste Olalquiaga proposes that the spatially unsettled dweller in the postmodern city is ‘psychasthenic’: that is, “vanishing as a differentiated entity … incapable of demarcating the limits of its own body, lost in the immense area that circumscribes it” (Olalquiaga 2). Olalquiaga points to the typical Los Angeleno as an example of such identity confusion. However, while the scope of this project might expand in future, it is only currently designed as an enabling procedure for the ‘helplessly chameleon’ citizens of Gold Coast City, to the extent that adaptation within a portfolio of creative products suggests human-focused strategies of adaptation. People who engage with the relations amongst multiplicities in this collaborative project might draw from those relations models for dealing with the multiplicities of urbanism in their day-to-day lives. Not necessarily for overcoming or neutralizing such multiplicities, but for using them to advantage as part of the art and science of urban inhabitation itself. My narrative, therefore, acts as a springboard for the various creative endeavours of my collaborators, who are engaged across several art forms in the project of expressing aspects of Blair’s tale. The absence on my part of any deliberate control over what they might produce is crucial to the ‘ethics’ of our mode of collaboration. Adaptation becomes here an enabling tactic of collaboration because it contains the potential—notably when it operates to ‘combine’ radically different time-based and non-time-based art forms—to stimulate heightened difference rather than seamless blending. And this sort of difference is what we want for our engagement with the differences of the city. Suggestion One—Adaptation and Radical Collaboration The literature on adaptation appears to contain a better resource for such radical forms of collaboration than is offered within prevailing models of collaboration. Robert Stam, for example, provides a description of film adaptation that is immensely suggestive for the development of this collaborative project: “Film adaptations, then, are caught up in the ongoing whirl of intertextual reference and transformation, of texts generating other texts in an endless process of recycling, transformation, and transmutation, with no clear point of origin” (Stam 66). Something like what Stam describes seems to be present in one of the conjunctions of time-based (short film) and non-time-based (installation art) products in this collaborative enterprise. Here, the project responds to David Joselit’s notion that inhabitants of sites like Gold Coast City must negotiate “a new spatial order: a space in which the virtual and the physical are absolutely coextensive, allowing a person to travel in one direction through sound or image while proceeding elsewhere physically” (Joselit 276). Installation art representing place always already operates across a fissure of the represented site and the actual site of the representation: thus, art space and place space coalesce. Inspired by Matthew Barney’s hyperbolic Cremaster Cycle creations in the Guggenheim Museum, I plan to add to this spatial (and indeed temporal) coalescence by establishing film set installation art at certain Gold Coast City locations that feature in the film, while the film itself will loop screen on monitors embedded within this same installation art (Guggenheim Museum). This element of this collaborative project will function therefore as a ‘creative laboratory’ for testing Joselit’s ‘new spatial order’ in that it involves three (inter-related) levels of adaptation: time-based with non-time-based forms; art space with place space; and the virtual (short film) with the physical or real (on-site installation art). Suggestion Two—Adaptation and ‘Intra-Textual’ Collaboration Besides insinuating a radical element into collaboration, adaptation also suggests an extension of collaborative activity into the non-participant, or (to coin a phrase) ‘intra-textual’, domain. Put differently, the notion of intra-textual adaptation allows us to unshackle collaboration from the process of collaboration (the efforts of a team of individuals) and re-situate it as an aspect of the product itself. The value of this is twofold: it sweeps the rug out from under any fusty attachment collaboration might retain to participant intentionality; relatedly, it revitalizes the theory and practices of collaboration because it suggests that the collaborative process continues even after the product is claimed to be finished. In other words, adaptation undoes the tendency in creative circles to place too much emphasis on the process of collaboration, at the expense of an appreciation of the intra-textuality of the actual product—an appreciation that might stimulate, in turn, new ways of approaching the process of collaboration. An ‘Intra-Textual’ Example The ‘core’ narrative of this collaborative project involves a taxi trip that will end when the meter hits $100.00. Any given product in my adaptation portfolio (say, the artistic website, or the film set installation-art exhibition) might represent the taxi meter in any number of ways. But what interests me here is how the meter itself is always an instance of intra-textual adaptation, of a collaboration within the text between two elements of it. In C. S. Peirce’s terms, the taxi meter could be labelled an Index. In James Monaco’s gloss on Peirce, an Index “measures a quality not because it is identical to it but because it has an inherent relationship to it” (Monaco 133). Now, isn’t this also a possible definition of adaptation, or, by extension, collaboration? A quality is measured—you might say, adapted into something else; one thing is transformed into another thing related to the first thing. Specifically, returning to the diegesis of my core narrative, the taxi meter adapts the time and space of Blair’s urban journey into the running-up of the $100.00. In this case, adaptation is a function of language itself, and it is this that makes the taxi meter a challenge to those schools of collaborative thought currently over-invested in the participant definition of collaboration, which hampers the development of new models of collaboration in that it unduly emphasizes process over product. Conclusion This article has used an in-progress collaborative case study to highlight the value for collaboration of appropriating notions of difference and intra-textuality from the domain of adaptation. On the evidence of this multi-product, multi-person adaptation portfolio, such an approach can reap the rewards of greater involvement with the cultural and identity concerns of the audience. The main problem with much artistic collaboration is that it tends to preserve an artificial homogeneity that papers over the important ways in which the world is composed of differences and multiplicities rather than of sameness and unification. The exopolitan inhabitants of Gold Coast City know this, and creative products that attempt to engage powerfully with cultural and identity issues must know it too. References Guggenheim Museum—Past Exhibitions—Matthew Barney: The Cremaster Cycle. 21 Feb.-11 June 2003. Guggenheim Museum. 2 Mar. 2006 http://www.guggenheim.org/exhibitions/past_exhibitions/barney/index.html>. Joselit, David. “Navigating the New Territory.” Artforum 43.10 (2005): 276-80. Monaco, James. How to Read a Film: The Art, Technology, Language, History, and Theory of Film and Media. New York: Oxford UP, 1981. Olalquiaga, Celeste. Megalopolis: Contemporary Cultural Sensibilities. Minneapolis: U of Minnesota P, 1992. Soja, Edward. W. “Inside Exopolis: Scenes from Orange County.” Variations on a Theme Park: The New American City and the End of Public Space. Ed. Michael Sorkin. New York: Hill and Wang, 1992. Stam, Robert. “Beyond Fidelity: The Dialogics of Adaptation.” Film Adaptation. Ed. James Naremore. New Brunswick: Rutgers UP, 2000. West, Patrick. “Intercut.” Sites of Cosmopolitanism: Citizenship, Aesthetics, Culture. Eds. David Ellison and Ian Woodward. Brisbane: Centre for Public Culture and Ideas, Griffith University, 2005. ———. “Now You Know What Women Have to Put Up with All of the Time.” Idiom 23 17.1 (2005): 2-4. ———. “Passion Play.” Unpublished short film script. Wise, Patricia. “Australia’s Gold Coast: A City Producing Itself.” Cityscapes Conference, Aberystwyth, Wales. 8-10 July 2004. Citation reference for this article MLA Style West, Patrick. "The Convergence Potentials of Collaboration & Adaptation: A Case Study in Progress." M/C Journal 9.2 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0605/16-west.php>. APA Style West, P. (May 2006) "The Convergence Potentials of Collaboration & Adaptation: A Case Study in Progress," M/C Journal, 9(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0605/16-west.php>.