Books by Blake Stimson

Collectivism after Modernism: The Art of Social Imagination after 1945

by Gregory Sholette, Blake Stimson

“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

Conceptual Art A Critical Anthology

by Alexander Alberro, Blake Stimson

This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the conceptual art movement.

Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years—in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians.

This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today's leading artists and art historians. Many of the essays and artists' statements have been translated into English specifically for this volume. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews.

Contributors
Alexander Alberro, Art & Language, Terry Atkinson, Michael Baldwin, Robert Barry, Gregory Battcock, Mel Bochner, Sigmund Bode, Georges Boudaille, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Victor Burgin, Ian Burn, Jack Burnham, Luis Camnitzer, John Chandler, Sarah Charlesworth, Michel Claura, Jean Clay, Michael Corris, Eduardo Costa, Thomas Crow, Hanne Darboven, Raúl Escari, Piero Gilardi, Dan Graham, Maria Teresa Gramuglio, Hans Haacke, Charles Harrison, Roberto Jacoby, Mary Kelly, Joseph Kosuth, Max Kozloff, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Kynaston McShine, Cildo Meireles, Catherine Millet, Olivier Mosset, John Murphy, Hélio Oiticica, Michel Parmentier, Adrian Piper, Yvonne Rainer, Mari Carmen Ramirez, Nicolas Rosa, Harold Rosenberg, Martha Rosler, Allan Sekula, Jeanne Siegel, Seth Siegelaub, Terry Smith, Robert Smithson, Athena Tacha Spear, Blake Stimson, Niele Toroni, Mierle Ukeles, Jeff Wall, Rolf Wedewer, Ian Wilson

Citizen Warhol

by Blake Stimson

From his life to his work, Andy Warhol is an enigma. The leading figure of the pop art movement, Warhol created paintings, films, performance art, and his famous studio, the Factory, in New York City. Fans, aficionados, enthusiasts, experts, and critics alike have tried to make sense of Warhol, creating a wealth of knowledge and speculation. Blake Stimson builds on this project in this gorgeously illustrated book, which brings new attention to the philosophical and creative influences behind Warhol’s life and work.

Citizen Warhol leads us through the artist’s youth, from his religiously infused childhood and adolescence in Pittsburgh to his university training at the Carnegie Institute of Technology, where he was profoundly affected by Carnegie’s industrial-age theory of art. Stimson recounts Warhol’s brief but formative dalliance with the guilt-riddled sensibility and decadent lifestyle of Aubrey Beardsley, an English illustrator whose drawings emphasize the grotesque and the erotic. In addition, Stimson describes how the Byzantine-influenced religious rituals of Warhol’s childhood affected his relationships with the figures who starred in his films and staffed the Factory, as well as relating the lessons he learned from his triumphs as a commercial artist working in a world still beholden to the Red Decade ideals of the 1930s. More than any other artist, Stimson shows, Warhol represents the unresolved contradiction between the ideal of the citizen and that of the consumer, an incongruity people continue to struggle with today.

From Lonesome Cowboy to Campbell's Soup I, this book provides readers with deeper insight into the meaning and legacy of Warhol’s life and art.

The Pivot of the World: Photography and Its Nation (The MIT Press)

by Blake Stimson

A study of three photographic projects that emerged in the 1950s—The Family of Man, Robert Frank's The Americans, and Bernd and Hilla Becher's typological record of industrial architecture—that expressed the modern desire for social belonging and the dream of nation.
The old dream of social belonging and political sovereignty—the dream of nation—was fraught with anxiety and contradiction for many artists and intellectuals in the 1950s. On the one hand, memories of the Second World War remained vivid and the chauvinism that had enabled it threatened to return with the growing tensions of the Cold War. On the other hand, the need to bind together into a new global identity—into a world nation or "family of man"—seemed ever more pressing as a bulwark against the rapidly expanding threat of a nuclear World War III.
The Pivot of the World looks at an exceptional effort to work out that geopolitical tension by cultural means as developed in three hugely ambitious photographic projects: The Family of Man exhibition that opened in 1955 and traveled the world for the next decade; Robert Frank's influential book The Americans, photographed in 1955-1956 and first published in 1958; and Bernd and Hilla Becher's typological record of industrial architecture, begun in 1957 and continuing today. Each of these projects worked to release the dream of nation—of belonging and sovereignty—from its old civic trappings through the medium of photography's serial form, in the experience of one photograph followed by another and another and another, so that all seem at once intimately connected and at the same time autonomous and distinct. Innovations in the serial composition of photographic form could open new possibilities for social form while the modern desire for political belonging could be made cosmopolitan, could be globalized—but in the most human of ways. This epic sense of purpose lasted only for a moment—it had already passed by the beginning of the 1960s—but it bears particular interest for any historical understanding of the contest over globalization that continues to hold such great consequence for us now.