Collectivism after Modernism: The Art of Social Imagination after 1945

4,03 valoración promedio
( 29 valoraciones por Goodreads )
 
9780816644629: Collectivism after Modernism: The Art of Social Imagination after 1945

“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 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

"Sinopsis" puede pertenecer a otra edición de este libro.

About the Author:



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.

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.

Review:

"Don't start an art collective until you read this book." --Guerrilla Girls

--editor

" Contrary to some strains of popular belief, collectivism is artmaking not only with" many but for" many. For the historical avant-garde— like the Dadaists or the Constructivists— it embodied the revolutionary power of communal force, one that would, in the future, alleviate the alienation of capitalist individualism. For artists during the Cold War, it meant sharing an experience beyond that of mass consumption, at a time when the communal utopias of the recent past were, at best, dismissed as naï ve phantasmagorias or, at worst, seen as having materialized in the form of totalitarian regimes. And a few years ago, fueled by curatorial interest, a trend emerged of group art practice as a kind of clubby tribalism.
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 ofperspectives. At its best it relies on the participation of the audience to actively contribute to the work, carrying forth the dialogue it inspires." — "BOMB"

"Sobre este título" puede pertenecer a otra edición de este libro.

Los mejores resultados en AbeBooks

1.

Stimson, Blake
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Cantidad: 10
Librería
Paperbackshop-US
(Wood Dale, IL, Estados Unidos de America)
Valoración
[?]

Descripción 2007. PAP. Estado de conservación: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Nº de ref. de la librería TX-9780816644629

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 17,70
Convertir moneda

Añadir al carrito

Gastos de envío: EUR 3,39
A Estados Unidos de America
Destinos, gastos y plazos de envío

2.

Editorial: University of Chicago press
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Cantidad: > 20
Librería
INDOO
(Avenel, NJ, Estados Unidos de America)
Valoración
[?]

Descripción University of Chicago press. Estado de conservación: New. Brand New. Nº de ref. de la librería 0816644624

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 18,15
Convertir moneda

Añadir al carrito

Gastos de envío: EUR 2,97
A Estados Unidos de America
Destinos, gastos y plazos de envío

3.

Editorial: University of Minnesota Press, United States (2007)
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Paperback Cantidad: 1
Librería
The Book Depository US
(London, Reino Unido)
Valoración
[?]

Descripción University of Minnesota Press, United States, 2007. Paperback. Estado de conservación: New. Language: English . Brand New Book. 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 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. 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. Nº de ref. de la librería AAS9780816644629

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 21,18
Convertir moneda

Añadir al carrito

Gastos de envío: GRATIS
De Reino Unido a Estados Unidos de America
Destinos, gastos y plazos de envío

4.

Editorial: University of Minnesota Press, United States (2007)
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Paperback Cantidad: 1
Librería
The Book Depository
(London, Reino Unido)
Valoración
[?]

Descripción University of Minnesota Press, United States, 2007. Paperback. Estado de conservación: New. Language: English . Brand New Book. 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 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. 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. Nº de ref. de la librería AAS9780816644629

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 25,55
Convertir moneda

Añadir al carrito

Gastos de envío: GRATIS
De Reino Unido a Estados Unidos de America
Destinos, gastos y plazos de envío

5.

Editorial: University of Minnesota Press, United States (2007)
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Paperback Cantidad: 10
Librería
Book Depository hard to find
(London, Reino Unido)
Valoración
[?]

Descripción University of Minnesota Press, United States, 2007. Paperback. Estado de conservación: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. 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 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. 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. Nº de ref. de la librería BTE9780816644629

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 25,55
Convertir moneda

Añadir al carrito

Gastos de envío: GRATIS
De Reino Unido a Estados Unidos de America
Destinos, gastos y plazos de envío

6.

Stimson, Blake
Editorial: Univ of Minnesota Press
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Tapa blanda Cantidad: 1
Librería
C. Clayton Thompson - Bookseller
(BOONE, NC, Estados Unidos de America)
Valoración
[?]

Descripción Univ of Minnesota Press. Estado de conservación: BRAND NEW. BRAND NEW Softcover A Brand New Quality Book from a Full-Time Bookshop in business since 1992!. Nº de ref. de la librería 2047154

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 27,07
Convertir moneda

Añadir al carrito

Gastos de envío: GRATIS
A Estados Unidos de America
Destinos, gastos y plazos de envío

7.

Stimson, Blake
Editorial: Univ Of Minnesota Press
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Tapa blanda Cantidad: 1
Librería
C. Clayton Thompson - Bookseller
(BOONE, NC, Estados Unidos de America)
Valoración
[?]

Descripción Univ Of Minnesota Press. Estado de conservación: BRAND NEW. BRAND NEW Softcover A Brand New Quality Book from a Full-Time Bookshop in business since 1992!. Nº de ref. de la librería 2341593

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 27,07
Convertir moneda

Añadir al carrito

Gastos de envío: GRATIS
A Estados Unidos de America
Destinos, gastos y plazos de envío

8.

Editorial: Univ of Minnesota Pr (2007)
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Tapa blanda Cantidad: 2
Librería
Valoración
[?]

Descripción Univ of Minnesota Pr, 2007. Estado de conservación: New. Nº de ref. de la librería TV9780816644629

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 24,75
Convertir moneda

Añadir al carrito

Gastos de envío: EUR 2,99
De Alemania a Estados Unidos de America
Destinos, gastos y plazos de envío

9.

Stimson, Blake (Editor)/ Sholette, Gregory (Editor)
Editorial: Univ of Minnesota Pr (2007)
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Paperback Cantidad: 1
Librería
Revaluation Books
(Exeter, Reino Unido)
Valoración
[?]

Descripción Univ of Minnesota Pr, 2007. Paperback. Estado de conservación: Brand New. 1st edition. 312 pages. 10.00x7.25x0.50 inches. In Stock. Nº de ref. de la librería z-0816644624

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 22,39
Convertir moneda

Añadir al carrito

Gastos de envío: EUR 6,72
De Reino Unido a Estados Unidos de America
Destinos, gastos y plazos de envío

10.

Blake Stimson (Editor), Gregory Sholette (Editor)
Editorial: Univ Of Minnesota Press (2007)
ISBN 10: 0816644624 ISBN 13: 9780816644629
Nuevos Paperback Cantidad: 1
Librería
Ergodebooks
(RICHMOND, TX, Estados Unidos de America)
Valoración
[?]

Descripción Univ Of Minnesota Press, 2007. Paperback. Estado de conservación: New. 1. Nº de ref. de la librería DADAX0816644624

Más información sobre esta librería | Hacer una pregunta a la librería

Comprar nuevo
EUR 28,71
Convertir moneda

Añadir al carrito

Gastos de envío: EUR 3,39
A Estados Unidos de America
Destinos, gastos y plazos de envío

Existen otras copia(s) de este libro

Ver todos los resultados de su búsqueda