In the early 20th century, art and its institutions came under
critique from a new democratic and egalitarian spirit. In an age of
secularism and materialism, artworks would be understood as merely
things among other things. This meant an attack on the techniques
of realism, and the traditional mission of the museum, both
designed shield a small class of objects from the entropic fate
awaiting everything else-and the development of an approach that
Boris Groys calls "direct realism": an art that would not produce
objects, but practices that could enter the flow of time to live
and die like the rest of us. But for more than a century now, every
advance in this direction has been quickly followed by new means of
preserving art's distinction. In this major new work, Groys, one of
the world's leading art theorists, charts the paradoxes produced by
this tension, which continues to structure the production and
reception of new art. The internet, the latest medium through which
artists have attempted to disavow this special status, inverts the
most notorious consequence of early modernist developments. If the
techniques of mechanical reproduction gave us objects without aura,
digital production generates aura without objects, transforming all
its materials into vanishing markers of the transitory present.
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