“Don't start an art collective until you read this book.” —Guerrilla Girls “Ever since Web 2.0 with its wikis, blogs and social networks the art of collaboration is back on the agenda. Collectivism after Modernism convincingly proves that art collectives did not stop after the proclaimed death of the historical avant-gardes. Like never before technology reinvents the social and artists claim the steering wheel!” —Geert Lovink, Institute of Network Cultures, Amsterdam “This examination of the succession of post-war avant-gardes and collectives is new, important, and engaged.” — Stephen F. Eisenman, author of The Abu Ghraib Effect “Collectivism after Modernism crucially helps us understand what artists and others can do in mushy, stinky times like ours. What can the seemingly powerless do in the face of mighty forces that seem to have their act really together? Here, Stimson and Sholette put forth many good answers.” —Yes Men Spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism explores the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. Together, these essays demonstrate that collectivism survives as an influential artistic practice despite the art world's star system of individuality. Collectivism after Modernism provides the historical understanding necessary for thinking through postmodern collective practice, now and into the future. Contributors: Irina Aristarkhova, Jesse Drew, Okwui Enwezor, Rubén Gallo, Chris Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovi´c, Reiko Tomii, Rachel Weiss. Blake Stimson is associate professor of art history at the University of California Davis, the author of The Pivot of the World: Photography and Its Nation, and coeditor of Visual Worlds and Conceptual Art: A Critical Anthology. Gregory Sholette is an artist, writer, and cofounder of collectives Political Art Documentation/Distribution and REPOhistory. He is coeditor of The Interventionists: Users' Manual for the Creative Disruption of Everyday Life. “To understand the various forms of postwar collectivism as historically determined phenomena and to articulate the possibilities for contemporary collectivist art production is the aim of Collectivism after Modernism. The essays assembled in this anthology argue that to make truly collective art means to reconsider the relation between art and public; examples from the Situationist International and Group Material to Paper Tiger Television and the Congolese collective Le Groupe Amos make the point. To construct an art of shared experience means to go beyond projecting what Blake Stimson and Gregory Sholette call the “imagined community”: a collective has to be more than an ideal, and more than communal craft; it has to be a truly social enterprise. Not only does it use unconventional forms and media to communicate the issues and experiences usually excluded from artistic representation, but it gives voice to a multiplicity of perspectives. At its best it relies on the participation of the audience to actively contribute to the work, carrying forth the dialogue it inspires.” —BOMB
Together, these essays demonstrate that collectivism survives as an influential and increasingly visible artistic practice despite the art world's star system of individuality.
Author: Blake Stimson
Publisher: U of Minnesota Press
9.5 Theses on Art and Class seeks to show how a clear understanding of class makes sense of what is at stake in a broad number of contemporary art's most persistent debates, from definitions of political art to the troubled status of "outsider" and street art to the question of how we maintain faith in art itself. Ben Davis currently lives and works in New York City where he is Executive Editor at Artinfo.
Blake Stimson and Gregory Sholette,“Introduction: Periodizing Collectivism,” in
Collectivism After Modernism:TheArt of Social ImaginationAfter 1945, ed. Blake
Stimson and Gregory Sholette (Minneapolis: University of Minnesota Press, 2007
Author: Ben Davis
Publisher: Haymarket Books
Taking on the myth of France's creative exhaustion following World War II, this collection of essays brings together an international team of scholars, whose research offers English readers a rich and complex overview of the place of France and French artists in the visual arts since 1945. Addressing a wide range of artistic practices, spanning over seven decades, and using different methodologies, their contributions cover ground charted and unknown. They introduce greater depth and specificity to familiar artists and movements, such as Lettrism, Situationist International or Nouveau Réalisme, while bringing to the fore lesser known artists and groups, including GRAPUS, the Sociological Art Collective, and Nicolas Schöffer. Collectively, they stress the political dimensions and social ambitions of the art produced in France at the time, deconstruct the traditional geography of the French art world, and highlight the multiculturalism of the French art scene that resulted from its colonial past and the constant flux of artistic travels and migrations. Ultimately, the book contributes to a story of postwar art in which France can be inscribed not as a main or sub chapter, but rather as a vector in the wider constellation of modern and contemporary art.
Chris Gilbert, “Art & Language and the Institutional Form in Anglo-American
Collectivism,” in Collectivism After Modernism: The Art of Social Imagination After
1945, ed. Blake Stimson and Gregory Sholette (Minneapolis: University of
Author: Catherine Dossin
Publisher: Bloomsbury Publishing USA
There exists a series of contemporary artists who continually defy the traditional role of the artist/author, including Art & Language, Guerrilla Girls, Bob and Roberta Smith, Marvin Gaye Chetwynd and Lucky PDF. In Death of the Artist, Nicola McCartney explores their work and uses previously unpublished interviews to provoke a vital and nuanced discussion about contemporary artistic authorship. How do emerging artists navigate intellectual property or work collectively and share the recognition? How might a pseudonym aid 'artivism'? Most strikingly, she demonstrates how an alternative identity can challenge the art market and is symptomatic of greater cultural and political rebellion. As such, this book exposes the art world's financially incentivised infrastructures, but also examines how they might be reshaped from within. In an age of cuts to arts funding and forced self-promotion, this offers an important analysis of the pressing need for the artistic community to construct new ways to reinvent itself and incite fresh responses to its work.
Also published in Collectivism after Modernism, ed. Stimson and Sholette, pp. ...
BP has since ended its sponsorship – something that must be attributed, at least
in part, to the pressure put on by art collective Liberate Tate. Holmes, 'Artistic ...
Author: Nicola McCartney
Publisher: Bloomsbury Publishing
"A groundbreaking look at avant-garde art and literature in the wake of the Mexican Revolution, illustrating Mexico City's importance as a major center for the development of modernism"--Provided by publisher.
... in Collectivism after Modernism: The Art ofthe Social Imagination, Blake
Stimson and Gregory Sholette, eds. ... Mexican Pentagon: Adventures in
Collectivism during the 1970s,” in Stimson and Sholette, Collectivism after
Modernism, 166. 50.
Author: Tatiana Flores
Publisher: Yale University Press
Nominated for the 2016 Art in Literature: Mary Lynn Kotz Award, Library of Virginia Owing to digitization, globalization and mass culture, what is deemed 'desirable' and 'of the moment' in art has increasingly followed the patterns of fashion. While in the past artistic styles were always inflected with signs of their modernity, today biennales and art markets are defined by the next big thing, the next sensation, the next new idea. But how do opinions of what is 'good', 'progressive' and 'cutting edge' guide styles? What is it that makes works of art fashionable and commercial? Fashionable Art critically explores the relationships between art, commerce, taste and cultural value. Each chapter covers a major style or movement, from Chinese and Aboriginal art, Cubism and Pop Art to alternative identity and outsider art, exploring how contemporary art has been shaped since the 1970s. Drawing upon a variety of theoretical frameworks, from Adorno and Bourdieu to Simmel and Zizek, expert visual cultural scholars Geczy and Millner engage with both historical and contemporary debates on this lively topic. Taking a complex view of the meaning of fashion as it relates to art, while also offering critiques of 'art as fashion', Fashionable Art is an original, key text that will be essential reading for students and scholars of art history, fashion studies and material culture.
Holmes, Brian, 'DIY Geopolitics', in Stimson, Blake and Gregory Sholette, (eds),
Collectivism after Modernism: The Art of Social Imagination after 1945,
Minneapolis and London: University of Minnesota Press, 2007, 273–94. Hopkins,
Author: Adam Geczy
Publisher: Bloomsbury Publishing
COLLECTIVISM AFTER MODERNISM : THE ART OF SOCIAL IMAGINATION
AFTER 1945 ED . BLAKE STIMSON AND GREGORY SHOLETTE THE ART OF
SOCIAL IMAGINATION AFTER 1945 and media to communicate the issues and
Category: Arts, Latin American
La mobilité – la capacité à se déplacer ou à être déplacé – est un élément si omniprésent dans la vie moderne qu’elle est tenue pour acquise, presque imperceptible en raison de sa constante présence. Dans Mobilités culturelles – Cultural Mobilities, des chercheurs du Canada et du Brésil, écrivant en anglais et en français, s’interrogent sur l’impact et l’influence qu’a la mobilité sur les dynamiques culturelles au sein de leurs deux pays et entre eux. Explorant le mouvement – des gens, des idées et des créations culturelles – et les processus qui affectent ce mouvement, ils apportent de nouvelles perspectives sur la manière dont la mobilité structure les conditions culturelles contemporaines. Intrinsèquement interdisciplinaire, le volume s’appuie sur des contributions provenant entre autres des domaines de la géographie urbaine, des arts visuels, du cinéma, de la littérature, de la danse et du journalisme, soulignant la mobilité comme un domaine important de la recherche universitaire. Aussi intrinsèquement interculturel, il utilise une approche comparative Sud–Nord qui révèle les points communs et les différences entre les contextes canadien et brésilien. Mobilités culturelles – Cultural Mobilities propose une méthode pour l’étude de la mobilité en tant que force culturelle dans la société contemporaine. Mobility – the ability to move or be moved – is such a ubiquitous element of modern life that it is taken for granted, almost unnoticeable because of its constant presence. In Mobilités culturelles – Cultural Mobilities, scholars from Canada and Brazil, writing in both English and French, consider the impact and influence of mobility on cultural dynamics within and between their countries. Exploring movement – of people, ideas and cultural creations – and the processes that affect this movement, they provide new insights into how mobility shapes contemporary cultural conditions. Intrinsically interdisciplinary, the volume includes contributions from the fields of urban geography, visual arts, film, literature, dance and journalism, among others, highlighting mobility as an important area of scholarly enquiry. Also intrinsically intercultural, it employs a South–North comparative approach that reveals the intersections and differences between the Canadian and Brazilian contexts. Mobilités culturelles – Cultural Mobilities charts a path for the study of mobility as a cultural force in contemporary society.
Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University
of Minnesota Press. Canclini ... Publishers. Stimson, B., and G. Sholette. (2004).
Collectivism after Modernism: The Translocal Transits in Toronto Art Practices 77.
Author: Pascal Gin
Publisher: University of Ottawa Press
Category: Social Science
For a description of this work , see Tomii , “ After the ' Descent to the Everyday ' :
Japanese Collectivism from Hi Red Center to The Play , 1964–1973 , " in
Collectivism After Modernism , Blake Stimson and Gregory Sholette , eds . (
Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalized artists, the "dark matter" of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this "dark matter" of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.
This book shows that these marginalized artists, the "dark matter" of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it.
Author: Gregory Sholette
Publisher: Pluto Press
Much evidence suggests that a fundamental reordering of artistic production and a transformation of the art field are about to take place. Heated debates have been sparked over new forms of work, public subsidies, and the expanding impact of the creative industries. Independent education programs, self-organized urban planning, artistic practices in the outer field of scientific research, and similar initiatives have unfolded over the last few years. This publication addresses this wide field, focusing on theoretical reflections and exemplary insights into alternative artistic working models. The anthology assembles expert studies and artist interviews, in order to reflect on new forms of practices that have been established beyond the exhibition-gallery nexus and hegemonic market activity. These strategies in particular are investigated concerning their self-images, organizational structures, networks, and economies, and the potential for usurpation.
In recent years , collectivism and cooperation has not only experienced a revival
— it has become a kind of fetish . ... 59 Blake Stimson and Gregory Sholette ,
introduction to Collectivism after Modernism : The Art of Social Imagination after ...
Author: Karen van den Berg
Catalog of an exhibition held at the Museum of Fine Arts, Houston, June 20-Sept. 12, 2010.
Picturing Modernism in Japanese Architecture Yasufumi Nakamori Museum of
Fine Arts, Houston ... Collectivism from Hi Red Center to the Play , 1964–1973 , "
in The Art of Social Imagination after 1945 : Collectivism after Modernism , eds .
Author: Yasufumi Nakamori
Publisher: Museum of Fine Arts Houston
Examining in detail the surprising similarities between modernist literature and contemporary theories of the crowd, this work shows that many modernist literary forms emerged out of efforts to write in the idiom of the crowd mind.
ry the end of the I930's, modernism and collectivism both became uncertain of
themselves. Mass movements succeeded and yet did not bring Utopia or even
much in the way of revolution. The vast expansion of the voting population in ...
Publisher: Stanford University Press
“After the 'Descent to the Everyday': Japanese Collectivism from Hi Red Center to
The Play, 1964–1973." In Blake Stimson and Gregory Sholette, eds., Collectivism
After Modernism. Minneapolis: University of Minnesota Press, 2007, pp. 44–75 ...
"Volume accompanies the exhibition ... presented at Japan Society Gallery, New York, from October 5, 2007, through January 13, 2008"--T.p. verso.
... After the ' Descent to the Everyday ' : Japanese Collectivism from Hi Red
Center to The Play , 1964 - 1973 , " in Collectivism After Modernism , ed . Blake
Stimson and Gregory Sholette ( Minneapolis : University of Minnesota Press ,
2007 ) ...
Author: Eric C. Shiner
Publisher: Other Distribution
"This is undoubtedly a moment marked by a serious interest in the actions America is taking on the world stage--actions that have been described as a cause for 'grave concern.' We do not attempt to authoritatively engage these concerns here nor do we wish to insinuate that elevated interest in America's cultural affairs is somehow unique to our present historical moment. We do, however, think that this sampling of discourse by and about a country's visual artists leads to insights about its politics and society not gained elsewhere. ...] At the very least, it gives a sense of what it is like to live in the United States today, and results in some inspired debate. We hope that this book serves not only as a valuable compendium of recent writing about contemporary art, but also as inspiration to seek further understanding of these 'Uncertain States.'" So Noah Horowitz and Brian Sholis note in the introduction to this unique compilation of writing around art and cultural politics in America since 2000. Published in collaboration with the Serpentine Gallery, London, and the Astrup Fearnley Museum of Modern Art, Oslo, as an addendum to the traveling exhibition Uncertain States of America, curated by Daniel Birnbaum, Gunnar Kvaran, and Hans Ulrich Obrist, the USA Reader was designed by Dexter Sinister. It is a thought-provoking collection that will become an important sourcebook on American culture at the start of the new millennium. Contributors Giorgio Agamben, Dora Apel, Jack Bankowsky, David Barringer, Bernadette Corporation, John Bowe et al., Johanna Burton, Paul Chan, Critical Art Ensemble, Trisha Donnelly, Andrea Fraser, Isabelle Graw, Tim Griffin, Matthew Jesse Jackson, Chris Kraus, Miwon Kwon, Robert Morris, Molly Nesbit, Seth Price, Kymberly N. Pinder, Retort, Ralph Rugoff, Gregory Sholette, Julian Stallabrass, Kirk Varnedoe, Hamza Walker, and Matt Wolf
Blake Stimson and I elaborate on this concept of post - war collective forms in our
essay “ Periodizing Collectivism , ” Third Text vol . 18 no . 6 , pp . 573 - 585 , and
again in our forthcoming anthology Collectivism after Modernism ...
Author: Noah Horowitz
The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell, is a holistic analysis of the decade that focuses on major turning points and developments in literature, entertainment, politics, and social experimentation. This analysis ultimately presents the 1980s as a significant phenomenon in the American landscape. The 1980s is a groundbreaking and stand-alone introductory volume that is unapologetically interdisciplinary in nature and encourages students to explore topics of the decade often overlooked or grouped together with other, more memorable decades such as the 1920s or 1960s.
Blake Stimson and Gregory Sholette , “ Introduction : Periodizing Collectivism , ”
in Collectivism after Modernism : The Art of Social Imagination after 1945 , ed .
Stimson and Sholette ( Minneapolis and London : University of Minnesota Press
Author: Kimberly R. Moffitt
Publisher: Rowman & Littlefield Publishers
... Katherine Singer Kovacs Tribunal de las Aguas de Valencia in Spain
bestowed upon him Prize for Mexican Modernity ... and invited lecappeared in
Documenta ( Cologne ) , Collectivism after Modernism ( B . turer at the Latsis
Category: Latin America
Shiach examines the ways in which labour was experienced and represented between 1890 and 1930. There is a critical tradition in literary and historical studies that sees the impact of modernity on human labour in terms of intensification and alienation. Shiach, however, explores a series of efforts to articulate the relations between labour and selfhood within modernism. Through readings of Sylvia Pankhurst and D. H. Lawrence, Shiach shows how labour underpins the political and textual innovations of the period. This study will be of interest to literary and cultural scholars alike.
Pankhurst's work within the women's suffrage movement involved the exploration
of possible relations between labour, liberation and women's political
representation: an exploration in which questions of identification, of collectivism
and of ...
Author: Morag Shiach
Publisher: Cambridge University Press
Category: Literary Criticism
Explores the significance of the first Apollo moon landing and how the countless books, films, and products associated with factual space fiction had an affect on popular culture and artistic practice, but not social sciences and humanities Investigates how a topic is hugely important in popular culture, but almost invisible in the academy, and how it makes us want to ask questions about visibility, or perhaps self-censorship Evaluates how little impact the space age actually had on the social sciences and humanities - partly because its combination of military-industrial cold war politics, combined with patriarchy and big science, sits uneasily with contemporary thought in these areas Provides an interdisciplinary collection of essays on various aspects of NASA, the moon landing, and the commercialization of space generally The book travels from hard engineering to space romance, echoing the variety of attempts to blur science and culture
Stimson , B . and Sholette , G . , ( eds ) , ( 2007 ) , Collectivism After Modernism :
The Art of Social Imagination After 1945 , Minneapolis : University of Minnesota
Press . Szwed , J . , ( 1998 ) , Space Is the Place : The Lives and Times of Sun Ra
Author: Martin Parker
Category: Social Science