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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針對當代藝術及藝術評論中，“作者”的地位變化和創作的改變。學當代藝術的推薦閱讀
评分Introduction: Poetics vs. Aesthetics, Politics of Installation, The Weak Universalism, Marx After Duchamp, or The Artist's Two Bodies主要看瞭這幾個章節，之後感覺基本找不到方嚮。
评分Introduction: Poetics vs. Aesthetics, Politics of Installation, The Weak Universalism, Marx After Duchamp, or The Artist's Two Bodies主要看瞭這幾個章節，之後感覺基本找不到方嚮。
评分針對當代藝術及藝術評論中，“作者”的地位變化和創作的改變。學當代藝術的推薦閱讀
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