"Boris Groys is an extraordinarily gimlet-eyed observer of the impact visual art has on contemporary art-world institutions. Anyone interested in the balance of aesthetic and political power among artists, collectors, curators, and the audience needs to read Groys's lapidary essays."--Gregg M. Horowitz, Department of Philosophy, Vanderbilt University -- Gregg Horowitz "This magisterial overview situates contemporary art - its aestheticstrategies, institutions and drives - within the deeper context of theModernist revolution, urbanism, new technologies and the post communist era.Groys' combines revelatory analysis with philosophical questions that go tothe heart of cultural production today." Iwona Blazwick, Director, Whitechapel Gallery -- Iwona Blazwick "Boris Groys produces more provocations, more paradoxes per page than anyother critic. Here, in one short book, are radical propositions aboutreligion (that it represents perfect 'opinionlessness' and is therefore themedium par excellence), the autonomy of art (that it is guaranteed by theabsence of aesthetic judgment), political art (that it does not exist incontemporary art market), communist-era art (that it is invisible to theWest because it lacked a market structure), art theory (that the hope ofavoiding it entails a theory of race), and images of war and terror (thatthey are the new iconophilia, the new visual authority). All theseunexpected propositions are made in the hope of a slow, complex, incrementalreturn to authorship, authority, presence, and the sublime."--James Elkins, author of What Happened to Art Criticism? -- James Elkins "Boris Groys is an extraordinarily gimlet-eyed observer of the impact visual art has on contemporary art-world institutions. Anyone interested in the balance of aesthetic and political power among artists, collectors, curators, and the audience needs to read Groys's lapidary essays." Gregg M. Horowitz , Department of Philosophy, Vanderbilt University "Boris Groys produces more provocations, more paradoxes per page than any other critic. Here, in one short book, are radical propositions about religion (that it represents perfect 'opinionlessness' and is therefore the medium par excellence), the autonomy of art (that it is guaranteed by the absence of aesthetic judgment), political art (that it does not exist in contemporary art market), communist-era art (that it is invisible to the West because it lacked a market structure), art theory (that the hope of avoiding it entails a theory of race), and images of war and terror (that they are the new iconophilia, the new visual authority). All these unexpected propositions are made in the hope of a slow, complex, incremental return to authorship, authority, presence, and the sublime." James Elkins , author of What Happened to Art Criticism? "By probing unacknowledged, repressed, or otherwise unexamined relationships that hover in the background of art-world conversation, Art Power recombines categories, reconfigures assumptions, and, in the end, reimagines what art writing can be." Matthew Jesse Jackson Bookforum "It's a seemingly unlimited supply of surprising, even audacious truths that many invested in the art world might prefer not to think too hard about." Canadian Art "The range of topics canvassed in Art Power is impressive... All of these subjects have been comprehensively treated elsewhere, but rarely with Groys' penetrating eye for the unexpected upshot of such developments." Frieze "The writings of Boris Groys create a discursive environment where art can be powerful. His commentaries on artistic activities turn aesthetics from a rhetoric of desire to a rhetoric of thinking. The critique replacing consumerism is finally transformed to a logic of the political, where his writing derives its own power." Peter Weibel "This magisterial overview situates contemporary art its aesthetic strategies, institutions and drives within the deeper context of the Modernist revolution, urbanism, new technologies, and the post communist era. Groys' combines revelatory analysis with philosophical questions that go to the heart of cultural production today." Iwona Blazwick , Director, Whitechapel Gallery

Boris Groys is Professor of Philosophy and Art Theory at the Academy for Design in Karlsruhe, Germany, and Global Professor at New York University. He is the author of many books, including The Art of Stalinism and History Becomes Form: Moscow Conceptualism (MIT Press, 2010).