Alexander Alberro

Blake Stimson

"Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years - in part because of the difficult, intellectual nature of the art." "This anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today's leading artists and art historians. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews."--Contracubierta.

A Critical Anthology

Conceptual Art

John R Hall

Lisa Tamiris Becker

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.

Visual Worlds

Gregory Sholette

“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 ofThe Pivot of the World: Photography and Its Nation, and coeditor ofVisual 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 ofThe 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

The Art of Social Imagination After 1945

Collectivism After Modernism

This title is an anthology of writings & projects by artists from across Europe & the Americas who have developed & expanded the genre of institutional critique. This is an artistic practice that reflects critically on its own housing in galleries & museums & on the concept & social function of art itself.

An Anthology of Artists' Writings

Institutional Critique

"The Pivot of the World looks at an exceptional effort to work out that geopolitical tension by cultural means as developed in three hugely ambitious photographic projects: The Family of Man exhibition that opened in 1955 and traveled the world for the next decade; Robert Frank's influential book The Americans, photographed in 1955-1956 and first published in 1958; and Bernd and Hilla Becher's typological record of industrial architecture, begun in 1957 and continuing today."--BOOK JACKET.

Blake Stimson

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