The Image Object Post-Photoshop

In the Post-Internet climate, it is assumed that the work of art lies equally in the version of the object one would encounter at a gallery or museum, the images and other representations disseminated through the Internet and print publications, bootleg images of the object or its representations, and variations on any of these as edited and recontextualized by any other author. […] For objects after the Internet there can be no “original copy.”^{[ Vierkant, Artie. The Image Object Post-Internet, 2010. ]}
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Look out for Metamodernism this year! we're making everything over_ inna romance

The postmodern years of plenty, pastiche, and parataxis are over. In fact, if we are to believe the many academics, critics, and pundits whose books and essays describe the decline and demise of the postmodern, they have been over for quite a while now. But if these commentators agree the postmodern condition has been abandoned, they appear less in accord as to what to make of the state it has been abandoned for. In this essay, we will outline the contours of this discourse by looking at recent developments in architecture, art, and film. We will call this discourse, oscillating between a modern enthusiasm and a postmodern irony, metamodernism. We argue that the metamodern is most clearly, yet not exclusively, expressed by the neoromantic turn of late associated with the architecture of Herzog & de Meuron, the installations of Bas Jan Ader, the collages of David Thorpe, the paintings of Kaye Donachie, and the films of Michel Gondry. (VIA) & HERE