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200 10$aArt power /$fBoris Groys
205   $a1st ed.
210   $aCambridge, Mass. $cMIT Press$dc2008
215   $a1 online resource (197 p.) 
300   $aBibliographic Level Mode of Issuance: Monograph
311 08$a0-262-07292-0 
320   $aIncludes bibliographical references (p. [183]-[190]).
327   $aIntro -- Contents -- Introduction -- The Logic of Equal Aesthetic Rights -- On the New -- On the Curatorship -- Art in the Age of Biopolitics: From Artwork to Art Documentation -- Iconoclasm as an Artistic Device: Iconoclastic Strategies in Film -- From Image to Image File-and Back: Art in the Age of Digitalization -- Multiple Authorship -- The City in the Age of Touristic Reproduction -- Critical Reflections -- Art at War -- The Hero's Body: Adolf Hitler's Art Theory -- Educating the Masses: Socialist Realist Art -- Beyond Diversity: Cultural Studies and Its Post-Communist Other -- Privatizations, or Artificial Paradises of Post-Communism -- Europe and Its Others -- Notes -- Sources.
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$xPhilosophy
615  0$aArt$xPolitical aspects.
615  0$aArt and state.
615  0$aArt, Modern$xPhilosophy.
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