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100   $a20080226d2008      uy             0
101 0 $aeng
135   $aurcn|||||||||
181   $ctxt
182   $cc
183   $acr
200 10$aArt power /$fBoris Groys
210   $aCambridge, Mass. $cMIT Press$dİ2008
215   $a1 online resource (197 p.) 
300   $aBibliographic Level Mode of Issuance: Monograph
311   $a0-262-07292-0 
320   $aIncludes bibliographical references (p. [183]-[190]).
330   $aArt has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market's fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways-- as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function. <br /><br />Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism and post-Communism. He also considers today's mainstream Western art-- which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself-- by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.
606   $aArt$xPolitical aspects
606   $aArt and state
606   $aArt, Modern$y20th century$xPhilosophy
610   $aARTS/General
615  0$aArt$xPolitical aspects.
615  0$aArt and state.
615  0$aArt, Modern$xPhilosophy.
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700   $aGroi?s$b Boris$0859975
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996   $aArt power$93832033
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