"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, Ruben Gallo, Chris
Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovic, Reiko Tomii,
Rachel Weiss. Blake Stimson is associate professor of arthistory 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"
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