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FIGURE 5.1. Arte Calle, No queremos intoxicarnos. Arte Calle members are in the gas masks. Left to right, panel participants are Jorge de la Fuente, Lupe Alvarez, and Tonel. Photographer unknown. Courtesy of Aldito Menéndez. ▲
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▲ COLLECTIVISM AFTER MODERNISM
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COLLECTIVISM ▲ AFTER MODERNISM Th
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TO LOUISE AND ARIANA
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CONTENTS 6. The Mexican Pentagon 16
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Acknowledgments This book would not
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Preface The collectivization of art
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FIGURE P.1. Promotional poster for
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directly opposite individuated form
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Preface xvii admit a desire to see
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Introduction: Periodizing Collectiv
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Introduction 3 to increase their pr
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Introduction 5 Modernist artists un
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Those good intentions have lingered
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Introduction 9 and that helped give
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collectivism brings focus to—inev
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Introduction 13 artists on Chicago
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Introduction 15 Phase of the Cultur
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1. Internationaleries: Collectivism
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Internationaleries 19 played a “u
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Internationaleries 21 Rooskens, Eug
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FIGURE 1.2. Le “Realisme-Socialis
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Internationaleries 25 and an active
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Internationaleries 27 create a demo
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Internationaleries 29 of the fourth
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Debord’s 1967 pamphlet entitled T
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Internationaleries 33 in which the
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Internationaleries 35 be demystiWed
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printing a series of uncomplicated
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NOTES Internationaleries 39 1. Haro
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Internationaleries 41 36. The exhib
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Internationaleries 43 77. Michel de
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2. After the “Descent to the Ever
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postminimal and conceptualist tende
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After the “Descent to the Everyda
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approach suited HRC, who felt restl
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(mumei-sei), to borrow Akasegawa’
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collectives turned the local popula
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3. Art & Language and the Instituti
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Art & Language and the Institutiona
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called “Art Theory” at the Cove
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FIGURE 3.4. Cover of Blurting in A&
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Page 214: Art & Language and the Institutiona
Page 226: 4. The Collective Camcorder in Art
Page 230: The Collective Camcorder in Art and
Page 268: 116 Rachel Weiss signiWcant about t
Page 272: 118 Rachel Weiss of socialism, and
Page 276: 120 Rachel Weiss The impulse of “
Page 280: 122 Rachel Weiss profound economic
Page 284: 124 Rachel Weiss artistic productio
Page 288: 126 Rachel Weiss Guevara]), 74 was
Page 292: 128 Rachel Weiss Provisional’s ca
Page 296: 130 Rachel Weiss of Arte Calle and
Page 300: 132 Rachel Weiss displeasure: the g
Page 304: FIGURE 5.4. ABTV, poster for Homage
Page 308: 136 Rachel Weiss things to a head:
Page 312: 138 Rachel Weiss uniWed a relativel
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140 Rachel Weiss THE COLLECTIVE AND
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142 Rachel Weiss into rhetoric but
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144 Rachel Weiss historically conti
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146 Rachel Weiss development of Cub
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148 Rachel Weiss action. At the gre
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150 Rachel Weiss teach workshops in
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152 Rachel Weiss thought, his style
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154 Rachel Weiss 67. Personal posse
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156 Rachel Weiss and the group move
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158 Rachel Weiss agreement was also
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160 Rachel Weiss 123. Much of the e
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162 Rachel Weiss within the bounds
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FIGURE 6.1. Proceso Pentágono, El
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166 Rubén Gallo individualistic pr
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168 Rubén Gallo Tlatelolco student
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170 Rubén Gallo with the governmen
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172 Rubén Gallo This fascination w
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174 Rubén Gallo the unfolding of t
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176 Rubén Gallo groups began showi
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178 Rubén Gallo had broken with Ca
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180 Rubén Gallo by the groups, whi
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FIGURE 6.5. Proceso Pentágono, Pro
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FIGURE 6.6. Proceso Pentágono, Exp
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186 Rubén Gallo atropellado and El
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188 Rubén Gallo And lastly, the Tr
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190 Rubén Gallo 35. Boudaille, let
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FIGURE 7.1. Demonstration/performan
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194 Alan W. Moore formed in 1969. T
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196 Alan W. Moore FIGURE 7.2. Ah! T
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198 Alan W. Moore thematized battle
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200 Alan W. Moore In Hollywood, Cal
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202 Alan W. Moore The guiding light
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204 Alan W. Moore Rican activists h
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206 Alan W. Moore a campaign of wor
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208 Alan W. Moore on health bureauc
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210 Alan W. Moore and exhibited it
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212 Alan W. Moore Even as critical
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214 Alan W. Moore face of states an
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216 Alan W. Moore networking of adv
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218 Alan W. Moore Smokehouse, a gro
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220 Alan W. Moore Frontier: GentriW
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FIGURE 8.1. Huit Facettes-Interacti
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224 Okwui Enwezor collective imagin
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226 Okwui Enwezor Moreover, moderni
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228 Okwui Enwezor The issue of the
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230 Okwui Enwezor radicalization of
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232 Okwui Enwezor cultures. To say
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234 Okwui Enwezor ethical-juridical
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236 Okwui Enwezor and economic cris
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FIGURE 8.4. Le Groupe Amos, Campagn
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FIGURE 8.6. Le Groupe Amos, Dix ans
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242 Okwui Enwezor N’Landu, a prof
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244 Okwui Enwezor its corollary, cr
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246 Okwui Enwezor development and e
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248 Okwui Enwezor recent debates ar
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250 Okwui Enwezor 1975-1976, ed. Ma
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FIGURE 9.1. A. Osmolovsky (concept)
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254 Irina Aristarkhova THE EGOLOGIC
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256 Irina Aristarkhova At various p
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FIGURE 9.2. A. Osmolovsky (concept)
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260 Irina Aristarkhova social forma
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FIGURE 9.3. Photographs showing nat
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264 Irina Aristarkhova of motherhoo
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266 Irina Aristarkhova Maternal pol
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268 Irina Aristarkhova us, theorist
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270 Irina Aristarkhova 13. Luce Iri
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FIGURE 10.1. Carnival against Capit
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274 Brian Holmes this antagonistic
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276 Brian Holmes with no importance
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278 Brian Holmes Town, where hundre
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280 Brian Holmes culture.” 15 The
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282 Brian Holmes FIGURE 10.2. The B
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284 Brian Holmes The virtual freedo
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286 Brian Holmes which has spread t
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288 Brian Holmes so. 30 Acting as l
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290 Brian Holmes collective situati
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292 Brian Holmes 6. What’s writte
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296 Contributors Chris Gilbert wrot
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This page intentionally left blank
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300 Index Art & Change, 206 Art & L
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302 Index Cop-Watch, 106 Cornelis (
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304 Index Hallwalls (art space Buff
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306 Index Le Groupe Amos (Congo), x
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308 Index Nissenbi (Japan Advertisi
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310 Index Sartre, Jean-Paul, 8, 248
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312 Index Warsaw Pact, 168 Ways of
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