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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读到亢奋
评分针对当代艺术及艺术评论中，“作者”的地位变化和创作的改变。学当代艺术的推荐阅读
评分读到亢奋
评分读到亢奋
评分读到亢奋
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