Fiona Anderson

Alexander Nemerov

Richard Meyer

Claire Bishop

Michelle Millar Fisher

Amy Tobin

Andrianna Campbell

Jacopo Galimberti

Meredith A. Brown

Sharon Hayes

Marci Muhlestein Clark

Ileana L. Selejan

David Kennedy Cutler

Sara Greenberger Rafferty

Sofia Gotti

Marko Ilić

Andrea Geyer

Sara Catenacci

Oriana Fox

Frances Jacobus-Parker

"Collaboration has been a component of art making for centuries—from ancient Greek potters and painters to nineteenth-century photographers Hill and Adamson to the contemporary Raqs Media Collective—yet it remains a complex topic for art historians of all periods. Taking its cue from Sigmund Freud’s 1929 publication, Civilization and its Discontents, in which the psychoanalyst wrestled with tensions between the individual and society, Collaboration and its (Dis)Contents: Art, Architecture, and Photography since 1950 asks what it means to produce work together as individuals and why this might matter for the creation of art and scholarship in the twenty-first century. This volume stems from The Courtauld Research Forum’s 2013 flagship research initiative, led by Andrew W. Mellon Postdoctoral Fellow Meredith A. Brown, which brought together a group of early career scholars based in London and New York who spent the year engaged in transatlantic conversations about collaboration and its influence on the histories of modern and contemporary art, architecture, and photography. The resulting collaboratively written essays and artists’ projects are timely contributions to the growing art historical debates around collaboration and collectivity and their relationship to modernism, feminism, Marxism, and contemporary practice. Collaboration and its (Dis)Contents explores not only what constitutes collaboration in recent art globally but also opens up possibilities created by collaborative historical and artistic research in a field that historically has privileged the traditional single-author text."-- Courtauld Books Online website.

Art, Architecture, and Photography Since 1950

Collaboration and Its (dis)contents

The first overview of the unique encounter between artists and the prominent Marxist current Workerism, also known as Operaismo During the 1960s and 1970s, Workerism and Autonomia were prominent Marxist currents. However, it is rarely acknowledged that these movements inspired many visual artists such as the members of Archizoom, Gordon Matta-Clark and Gianfranco Baruchello. This book focuses on the aesthetic and cultural discourse developed by three generations of militants (including Mario Tronti, Antonio Negri, Bifo and Silvia Federici), and how it was appropriated by artists, architects, graphic designers and architectural historians such as Manfredo Tafuri. Images of Classsignposts key moments of this dialogue, ranging from the drawings published on classe operaia to Potere Operaio’s exhibition in Paris, the Metropolitan Indians’ zines, a feminist art collective who adhered to the Wages for Housework Campaign, and the N group’s experiments with Gestalt theory. Featuring more than 140 images of artworks, many published here for the first time, this volume provides an original perspective on post-war Italian culture and new insights into some of the most influential Marxist movements of the twentieth and twenty-first centuries worldwide.

Operaismo, Autonomia and the Visual Arts (1962-1988)

Images of Class

Victoria H. F. Scott

Noemi de Haro García

This is the first book to explore the global influence of Maoism on modern and contemporary art. Featuring eighteen original essays written by established and emerging scholars from around the world, and illustrated with fascinating images not widely known in the west, the volume demonstrates the significance of visuality in understanding the protean nature of this powerful worldwide revolutionary movement. Contributions address regions as diverse as Singapore, Madrid, Lima and Maputo, moving beyond stereotypes and misconceptions of Mao Zedong Thought's influence on art to deliver a survey of the social and political contexts of this international phenomenon. At the same time, the book attends to the the similarities and differences between each case study. It demonstrates that the chameleonic appearances of global Maoism deserve a more prominent place in the art history of both the twentieth and twenty-first centuries.

Art, Global Maoism and the Chinese Cultural Revolution

Jacopo Galimberti

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