As many observers have noted, the world is becoming increasingly visually mediated, with the rise of computers and the internet being central factors in the emergence of new tools and conventions. Exploring the social structure of visuality, this volume contains a collection of essays by internationally renowned artists and scholars from a variety of fields (including art history, literary theory and criticism, cultural studies, film and television studies, intellectual history and sociology). It was conceived to address a bold query: how is our experience and understanding of vision and visual form changing under pressure from the various social, economic and cultural factors that are linked under the term globalization.
The essays overlap in their considerations of the tensions between cultures and worlds, political life, everyday social experience, and war. The resulting conversation that develops between the chapters touches on points from many visual worlds, and provides a unique opportunityfor considering the changing character of visual experience today.
This book will attract readers from a wide range of academic disciplines and will especially be valuable as a textbook for graduate and undergraduate courses in visual culture and cultural studies.

As many observers have noted, the world is becoming increasingly visually mediated, with the rise of computers and the internet being central factors in the emergence of new tools and conventions. Exploring the social structure of visuality, this volume contains a collection of essays by internationally renowned artists and scholars from a variety of fields (including art history, literary theory and criticism, cultural studies, film and television studies, intellectual history and sociology). It was conceived to address a bold query: how is our experience and understanding of vision and visual form changing under pressure from the various social, economic and cultural factors that are linked under the term 'globalization'.

The essays overlap in their considerations of the tensions between cultures and worlds, political life, everyday social experience, and war. The resulting conversation that develops between the chapters touches on points from many visual worlds, and provides a unique opportunity for considering the changing character of visual experience today.

This book will attract readers from a wide range of academic disciplines and will especially be valuable as a textbook for graduate and undergraduate courses in visual culture and cultural studies.

Landmark is a collaborative body of photographic work generated over the last five years in Pontiac/Detroit, Michigan, and Toledo, Ohio. In this volume, photographers J.W. Fisher and J.T. Leonard focus on exchanges between individuals and communities, as well as interventions in the landscape. Joel W. Fisher has published, exhibited and taught around the world. His work has been published in multiple magazines and books, including his most recent collaborative publication, 'Landmark.' Fisher has shown in museums and galleries such as the Kiosk Gallery in Missouri, Wassaic Projects in New York, the HGB in Germany and the Fotomuseum in Switzerland. Currently, he is an assistant professor of Art at the Lewis & Clark College. Justin T. Leonard received his MFA in Photography from Yale University in 2009. Leonard has shown work nationally in both group and solo exhibitions. In 2013 he was the recipient of an Ohio Arts Council Individual Fellowship, and in the summer of 2014 was selected to participate in Review Santa Fe by Center Programs. Blake Stimson is Professor of Art History at the University of California, Davis. He is the author of The Pivot of the World: Photography and Its Nation (2004), and coeditor (with Alexander Alberro) of Conceptual Art: A Critical Anthology (2000), both published by the MIT Press. Lisa Larson-Walker is Slate's associate art director, based in Brooklyn. She also is the editor of Slate's Instagram account. She is a graduate of the Cooper Union School of Art, and previously worked at Newsweek and the Daily Beast.

"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"