- Page 2:
▲ COLLECTIVISM AFTER MODERNISM
- Page 6:
COLLECTIVISM ▲ AFTER MODERNISM Th
- Page 10:
TO LOUISE AND ARIANA
- Page 14:
CONTENTS 6. The Mexican Pentagon 16
- Page 18:
Acknowledgments This book would not
- Page 22:
Preface The collectivization of art
- Page 26:
FIGURE P.1. Promotional poster for
- Page 30:
directly opposite individuated form
- Page 34:
Preface xvii admit a desire to see
- Page 38:
Introduction: Periodizing Collectiv
- Page 42:
Introduction 3 to increase their pr
- Page 46:
Introduction 5 Modernist artists un
- Page 50:
Those good intentions have lingered
- Page 54:
Introduction 9 and that helped give
- Page 58:
collectivism brings focus to—inev
- Page 62:
Introduction 13 artists on Chicago
- Page 66:
Introduction 15 Phase of the Cultur
- Page 70:
1. Internationaleries: Collectivism
- Page 74:
Internationaleries 19 played a “u
- Page 78:
Internationaleries 21 Rooskens, Eug
- Page 82:
FIGURE 1.2. Le “Realisme-Socialis
- Page 86:
Internationaleries 25 and an active
- Page 90:
Internationaleries 27 create a demo
- Page 94:
Internationaleries 29 of the fourth
- Page 98:
Debord’s 1967 pamphlet entitled T
- Page 102:
Internationaleries 33 in which the
- Page 106:
Internationaleries 35 be demystiWed
- Page 110:
printing a series of uncomplicated
- Page 114:
NOTES Internationaleries 39 1. Haro
- Page 118:
Internationaleries 41 36. The exhib
- Page 122:
Internationaleries 43 77. Michel de
- Page 126:
2. After the “Descent to the Ever
- Page 130:
postminimal and conceptualist tende
- Page 134:
After the “Descent to the Everyda
- Page 138:
After the “Descent to the Everyda
- Page 142:
After the “Descent to the Everyda
- Page 146:
approach suited HRC, who felt restl
- Page 150:
(mumei-sei), to borrow Akasegawa’
- Page 154:
After the “Descent to the Everyda
- Page 158:
After the “Descent to the Everyda
- Page 162:
After the “Descent to the Everyda
- Page 166:
After the “Descent to the Everyda
- Page 170:
After the “Descent to the Everyda
- Page 174:
After the “Descent to the Everyda
- Page 178:
collectives turned the local popula
- Page 182:
After the “Descent to the Everyda
- Page 186:
After the “Descent to the Everyda
- Page 190:
3. Art & Language and the Instituti
- Page 194:
Art & Language and the Institutiona
- Page 198:
called “Art Theory” at the Cove
- Page 202:
Art & Language and the Institutiona
- Page 206:
FIGURE 3.4. Cover of Blurting in A&
- Page 210:
Art & Language and the Institutiona
- Page 214:
Art & Language and the Institutiona
- Page 218:
Art & Language and the Institutiona
- Page 222:
Art & Language and the Institutiona
- Page 226:
4. The Collective Camcorder in Art
- Page 230:
The Collective Camcorder in Art and
- Page 234:
The Collective Camcorder in Art and
- Page 238:
The Collective Camcorder in Art and
- Page 242:
The Collective Camcorder in Art and
- Page 246:
The Collective Camcorder in Art and
- Page 250:
The Collective Camcorder in Art and
- Page 254:
The Collective Camcorder in Art and
- Page 258:
The Collective Camcorder in Art and
- Page 262:
The Collective Camcorder in Art and
- Page 266:
5. Performing Revolution: Arte Call
- Page 270:
developing schema within which to r
- Page 274:
Performing Revolution 119 stricture
- Page 278:
group, and their inauguration into
- Page 282:
Performing Revolution 123 lies in G
- Page 286:
Performing Revolution 125 problems
- Page 290:
Performing Revolution 127 Grupo Pro
- Page 294:
Performing Revolution 129 from with
- Page 298:
FIGURE 5.3. Art-De (Juan-Sí Gonzá
- Page 302:
Performing Revolution 133 the museu
- Page 306:
distributed a statement of protest,
- Page 310:
Performing Revolution 137 reason fo
- Page 314:
Performing Revolution 139 which con
- Page 318:
Performing Revolution 141 in which
- Page 322:
Performing Revolution 143 perhaps b
- Page 326:
These privatized 1990s collectives
- Page 330:
Performing Revolution 147 8. Gerard
- Page 334:
Performing Revolution 149 26. In 19
- Page 338:
Performing Revolution 151 which app
- Page 342:
Performing Revolution 153 marginal
- Page 346:
Performing Revolution 155 boy in qu
- Page 350:
Performing Revolution 157 101. They
- Page 354:
Performing Revolution 159 And I bel
- Page 358:
Performing Revolution 161 structure
- Page 362:
This page intentionally left blank
- Page 366: 6. The Mexican Pentagon: Adventures
- Page 370: The Mexican Pentagon 167 grupos (th
- Page 374: It was against this background of r
- Page 378: The Mexican Pentagon 171 Bellas Art
- Page 382: The Mexican Pentagon 173 5 million
- Page 386: The Mexican Pentagon 175 Wlled it w
- Page 390: The Mexican Pentagon 177 Ehrenberg
- Page 394: The Mexican Pentagon 179 of a campa
- Page 398: The Mexican Pentagon 181 (including
- Page 402: contributed to the celebrations by
- Page 406: criticisms, and attacks. Perhaps th
- Page 410: material for Expediente. And while
- Page 414: The Mexican Pentagon 189 11. The gr
- Page 420: FIGURE 7.1. Demonstration/performan
- Page 424: 194 Alan W. Moore formed in 1969. T
- Page 428: 196 Alan W. Moore FIGURE 7.2. Ah! T
- Page 432: 198 Alan W. Moore thematized battle
- Page 436: 200 Alan W. Moore In Hollywood, Cal
- Page 440: 202 Alan W. Moore The guiding light
- Page 444: 204 Alan W. Moore Rican activists h
- Page 448: 206 Alan W. Moore a campaign of wor
- Page 452: 208 Alan W. Moore on health bureauc
- Page 456: 210 Alan W. Moore and exhibited it
- Page 460: 212 Alan W. Moore Even as critical
- Page 464: 214 Alan W. Moore face of states an
- Page 468:
216 Alan W. Moore networking of adv
- Page 472:
218 Alan W. Moore Smokehouse, a gro
- Page 476:
220 Alan W. Moore Frontier: GentriW
- Page 480:
FIGURE 8.1. Huit Facettes-Interacti
- Page 484:
224 Okwui Enwezor collective imagin
- Page 488:
226 Okwui Enwezor Moreover, moderni
- Page 492:
228 Okwui Enwezor The issue of the
- Page 496:
230 Okwui Enwezor radicalization of
- Page 500:
232 Okwui Enwezor cultures. To say
- Page 504:
234 Okwui Enwezor ethical-juridical
- Page 508:
236 Okwui Enwezor and economic cris
- Page 512:
FIGURE 8.4. Le Groupe Amos, Campagn
- Page 516:
FIGURE 8.6. Le Groupe Amos, Dix ans
- Page 520:
242 Okwui Enwezor N’Landu, a prof
- Page 524:
244 Okwui Enwezor its corollary, cr
- Page 528:
246 Okwui Enwezor development and e
- Page 532:
248 Okwui Enwezor recent debates ar
- Page 536:
250 Okwui Enwezor 1975-1976, ed. Ma
- Page 540:
FIGURE 9.1. A. Osmolovsky (concept)
- Page 544:
254 Irina Aristarkhova THE EGOLOGIC
- Page 548:
256 Irina Aristarkhova At various p
- Page 552:
FIGURE 9.2. A. Osmolovsky (concept)
- Page 556:
260 Irina Aristarkhova social forma
- Page 560:
FIGURE 9.3. Photographs showing nat
- Page 564:
264 Irina Aristarkhova of motherhoo
- Page 568:
266 Irina Aristarkhova Maternal pol
- Page 572:
268 Irina Aristarkhova us, theorist
- Page 576:
270 Irina Aristarkhova 13. Luce Iri
- Page 580:
FIGURE 10.1. Carnival against Capit
- Page 584:
274 Brian Holmes this antagonistic
- Page 588:
276 Brian Holmes with no importance
- Page 592:
278 Brian Holmes Town, where hundre
- Page 596:
280 Brian Holmes culture.” 15 The
- Page 600:
282 Brian Holmes FIGURE 10.2. The B
- Page 604:
284 Brian Holmes The virtual freedo
- Page 608:
286 Brian Holmes which has spread t
- Page 612:
288 Brian Holmes so. 30 Acting as l
- Page 616:
290 Brian Holmes collective situati
- Page 620:
292 Brian Holmes 6. What’s writte
- Page 624:
This page intentionally left blank
- Page 628:
296 Contributors Chris Gilbert wrot
- Page 632:
This page intentionally left blank
- Page 636:
300 Index Art & Change, 206 Art & L
- Page 640:
302 Index Cop-Watch, 106 Cornelis (
- Page 644:
304 Index Hallwalls (art space Buff
- Page 648:
306 Index Le Groupe Amos (Congo), x
- Page 652:
308 Index Nissenbi (Japan Advertisi
- Page 656:
310 Index Sartre, Jean-Paul, 8, 248
- Page 660:
312 Index Warsaw Pact, 168 Ways of