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FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. ▲
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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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4. The Collective Camcorder in Art
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The Collective Camcorder in Art and
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5. Performing Revolution: Arte Call
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developing schema within which to r
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Performing Revolution 119 stricture
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group, and their inauguration into
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Performing Revolution 123 lies in G
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Performing Revolution 125 problems
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Performing Revolution 127 Grupo Pro
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Performing Revolution 129 from with
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FIGURE 5.3. Art-De (Juan-Sí Gonzá
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Performing Revolution 133 the museu
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distributed a statement of protest,
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Performing Revolution 137 reason fo
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Performing Revolution 139 which con
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Performing Revolution 141 in which
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Performing Revolution 143 perhaps b
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These privatized 1990s collectives
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Performing Revolution 147 8. Gerard
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Performing Revolution 149 26. In 19
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Performing Revolution 151 which app
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Performing Revolution 153 marginal
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Performing Revolution 155 boy in qu
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Performing Revolution 157 101. They
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Performing Revolution 159 And I bel
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Performing Revolution 161 structure
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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
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Page 414: The Mexican Pentagon 189 11. The gr
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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
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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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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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