Going public /
If all things in the world can be considered as sources of aesthetic experience, then art no longer holds a privileged position. Rather, art comes between the subject and the world, and any aesthetic discourse used to legitimize art must also necessarily serve to undermine it. Following his recent b...
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Berlin ; New York :
Sternberg Press,
2010.
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| Series: | E-flux journal (Series)
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| Subjects: |
MARC
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| 100 | 1 | |a Groĭs, Boris | |
| 245 | 1 | 0 | |a Going public / |c Boris Groys. |
| 260 | |a Berlin ; |a New York : |b Sternberg Press, |c 2010. | ||
| 300 | |a 168 pages : |b illustrations ; |c 18 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 490 | 1 | |a E-flux journal | |
| 504 | |a Includes bibliographical references. | ||
| 505 | 0 | |a Introduction: poetics vs. aesthetics -- The obligation to self-design -- The production of sincerity -- Politics of installation -- The loneliness of the project -- Comrades of time -- The weak universalism -- Marx after Duchamp, or The artist's two bodies -- Religion in the age of digital reproduction -- Immortal bodies. | |
| 520 | |a If all things in the world can be considered as sources of aesthetic experience, then art no longer holds a privileged position. Rather, art comes between the subject and the world, and any aesthetic discourse used to legitimize art must also necessarily serve to undermine it. Following his recent books Art Power and The Communist Postscript, in Going Public Boris Groys looks to escape entrenched aesthetic and sociological understandings of art--which always assume the position of the spectator, of the consumer. Let us instead consider art from the position of the producer, who does not ask what it looks like or where it comes from, but why it exists in the first place. | ||
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| 650 | 0 | |a Art, Modern |y 21st century |x Philosophy. | |
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