L'article proposa un conjunt de reflexions sobre I'estatus de la imatge artística en aquest fi de segle XX, tot combinant aspectes derivats de la naturalesa de la imatge actual i de la noció d'artisticitat posada en joc per les modernes teories de I'art. Partint d'una taxonomia genktica de les imatges constituents de la iconosfera contemporania, se centra en les noves tecnologes de la imatgen (NTI) que corresponen a una epoca de creativitat tecnoIogica en la qual es tendeix a pascar de la reproducció tecnica de la imatges a la reproductibilitat tecnologica del món. Aixo es fa en la perspectiva d'unes concepcions de I'art immerses en la ideologia de la mort de I'art en les seves dimensions tecnologica, antropologica o filosofica i en revisionisme postmodern de I'art avantguardista que ens remet vers un art posthistoric, el qual necessariament ha de qüestionar el paper de la propia historia de I'art.A series of reflections are made on the status of the artistic image at the end of this century, combining aspects drawn from the nature of the present image and from the notion of artistry introduced by modern theories of art. Taking as a starting point a genetic taxonomy of the images which constitute the contemporary iconosphere, the main focus is the "new technologies of the image" which correspond to a technologically creative age in which the tendency is to move from the technical reproduction of the image to the technological reproducibility of the world. This is conducted from the perspective of a conception of art immersed in the ideology of the "death of art" (in its technological, anthropological and philosophical dimensions) and in the postmodern revisionism of avant-garde art which leads us towards a "posthistoric" art, which out of necessity must question the role of the History of Art itself
