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Collectivism after Modernism The Art of Social Imagination after 1945 Blake Stimson and Gregory Sholette, editors |
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$84.00 Cloth |
Analyzes collective artistic practice from the Cold War to the global present. The desire to speak in a collective voice has long fueled social imagination and artistic production. Prior to the Second World War, artists understood collectivization as an expression of the promise or failure of industrial and political modernity envisioned as a mass phenomenon. After the war, artists moved beyond the old ideal of progress by tying the radicalism of their political dreams to the free play of differences. Organized around a series of case studies spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism covers such renowned collectives as the Guerrilla Girls and the Yes Men, as well as lesser-known groups. Contributors explore the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. They examine the impact of new technologies on artistic practice, the emergence of networked group identity, and the common characteristic of collective production to blur the typical separations between artists, activists, service workers, and communities in need. Together, these essays demonstrate that collectivism survives as an influential and increasingly visible 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. "Blake Stimson and Gregory Shollete skillfully utilize collectivism’s inherent ambiguities and contradictions to open a book that examines collectively produced art across many cultural divides and political contexts." —Artforum "Stimson’s project is one to be engaged with, as it wreaks necessary havoc with that dominant reductive perspective that too easily casts consumerism versus idealism, Postmodernism versus Modernism." —Art Monthly "Collectivism After Modernism, The Art of Social Imagination after 1945 provides us with a new “map” of Modernism since World War II/ A very challenging and exciting map, since it is one that is not compatible with any dominant paradigm or conceptualization of what Modernism used to be and could become once again in the near future." —Leonardo Contributors: Irina Aristarkhova, National U of Singapore; Jesse Drew, San Francisco Art Institute; Okwui Enwezor, U of Pittsburgh; Rubén Gallo, Princeton U; Chris Gilbert, Baltimore Museum of Art; Brian Holmes; Alan Moore; Jelena Stojanovi´c; Reiko Tomii; Rachel Weiss, School of the Art Institute of Chicago. 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. 304 pages | 80 halftones | 7 x 10 | 2007 TABLE OF CONTENTS Acknowledgments 1. Internationaleries: Collectivism, the Grotesque and Cold War Functionalism 2. After the “Descent to the Everyday:” Japanese Collectivism from Hi Red Center to The Play, 1964-1973 3. Art & Language and the Institutional Form in Anglo-American Collectivism 4. The Collective Camcorder in Art and Activism 5. Performing Revolution: Arte Calle, Grupo Provisional, and the Response to Cuban National Crisis, 1986-1989 6. The Mexican Pentagon: Adventures in Collectivism during the 1970s 7. Artists’ Collectives Mostly in New York, 1975-2000 8. The Production of Social Space as Artwork: Protocols of Community in the Work of Le Groupe Amos and Huit Facettes 9. Do-It-Yourself Geopolitics: Cartographies of Art in the World 10. Beyond Representation and Affiliation: Collective Action in Post-Soviet Russia Contributors |
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$27.95 Paper