Peer Production of Art

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Book 1

* Dark Matter: Art and Politics in the Age of Enterprise Culture, Gregory Sholette, Pluto Press, 2010

URL = http://www.gregorysholette.com/books/darkmatter_books.html


"Radical Social Production and the Missing Mass of the Contemporary Art World Gregory Sholette (Pluto Press UK, forthcoming, 2009.) The premise of this book is that the formal economy of contemporary art is dependent upon a previously suppressed sphere of informal, non-market, social production involving systems of gift exchange, cooperative networks, distributed knowledge, and collective activities, which is becoming increasingly visible and potentially threatening to the symbolic and fiscal cohesion of high culture, especially in its most politicized form as interventionist art." (http://www.gregorysholette.com/books/darkmatter_books.html)


More Information

Softcover purchase links:

  1. USA: http://www.amazon.com/Dark-Matter-Politics-Enterprise-Culture/dp/0745327524/ref=sr_1_1?ie=UTF8&qid=1295907847&sr=8-1
  2. UK : http://www.plutobooks.com/display.asp?K=9780745327525&

Book 2

  • Collectivism After Modernism: Art and Social Imagination after 1945. Blake Stimson and Gregory Sholette, editors. University of Minnesota Press, 1997.


“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” (http://www.gregorysholette.com/books/collectivism.html)