325:“one strains…to find an alternative model for doing “art and politics in the age of enterprise culture,” as suggested by Sholette's investigations and lived experience as a politically conscious and apparently marginal artist (thus part of the dark matter).” Lloyd further states that Sholette’s depiction of his own projects “is impersonal—there is no first-person reflection on these projects or their efficacy, though one can glean ambivalence in his depictions of how easily these moments of aesthetic resistance are ultimately absorbed by the neoliberal system.” Ultimately, Lloyd critically points out that “it becomes questionable whether the most prominent of these political interventions should be classed in the dark matter at all, or whether they form another sort of illuminated sphere among the art worlds.”
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167:(2010-2015) consists of a collection of documents that suggest an alternative social reality, takes “the notion of collaboration as a living, working material to be debated, explored and tested.” The installation project has traveled the cities of Kyiv, Graz, Galway, Philadelphia, Friedrichshafen, and Wellington in New Zealand.
284:’s notion of bare life “as the condition of bodies reduced to biological existence through being excluded from the category of political citizenship by the state,” Sholette defines bare art as art deprived of any socially transformative capacity and dedicated to financial management and the reproduction of the status quo.
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can only be understood if it is historicized. Sholette and
Stimson both claim that collaborative collectively produced artwork emerges as a central tool in challenging capitalism’s thrive for individualism, but that its form has undergone a fundamental change in the contemporary period following the
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era. In this way, the book attempts “to understand the various forms of postwar collectivism as historically determined phenomena and to articulate the possibilities for contemporary collectivist art production.” While the book lacks “a systematic debate on the differences between the collaborative
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a series of ink, pencil and acrylic wash drawings based on photographs of activist art and other political protests, was presented at
Station Independent Projects. The project depicted “art activism in dark tones,” and examined “how dark matter is visualized and activated in mixed media works that
340:
is
Sholette’s suggestion that society has entered a world of Bare Art. Social and cultural anthropologist Gretchen Coombs asserts that Sholette uses the terms “art and activism,” “social practice,” and “socially engaged” interchangeably, and while he “works out these differences through his case
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writes that the “mock institutions” Sholette points to are "native to artistic dark matter—research institutes, informal universities, collectives of urban gardeners, tribes of survivalists, temporary service points—each of which tends to operate in an institutional landscape ravaged by hostile
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Theorist Marc James Léger describes
Sholette's concept of artistic dark matter as "the work of autonomous and participatory cultural production by amateur, informal, unofficial, autonomous, activist and non-institutional workers." Susan Ryan, Professor of Art History at
341:
studies…these terms often function on different registers, specifically as they are understood in our globalized world.” The book’s focus on New York also “casts a specter across the book’s historical arc, effectively provincializing what needs to be deprovincialized.”
317:“is an important and timely contribution,” Sholette’s economic arguments are flawed. For example, “there is a fundamental problem with” his “idea of an “art strike” because “rt production is not wage labor.” Richard Lloyd, associate professor of sociology at
332:, in which he argues that art has become simultaneously part of the increasing financialization of everything under neoliberal capitalism and a valuable resource for civic mobilization and progressive social transformation. A key concept that ties
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202:, Sholette, along with Gene Ray, challenged the political relevance of tactical media and DIY creative strategies in the context of ongoing privatization and securitization in 2008. Sholette first addressed this topic in 2004 with
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and the collectivist,” it is nevertheless “a very rich, but sometimes overdescriptive and overdetailed, survey of collectivist artistic action in all parts of the world (only China, the
Islamic world and Australia are missing)."
264:
Sholette’s art focuses on the forgotten, repressed or speculative genealogies of redundant, politically invisible cultural labor that actually maintains and reproduces the mainstream high art world marketplace. Sholette uses
269:” as a metaphor for these artistic practices and institutions, arguing that the visible, institutional art world is actually dependent on what it marginalizes and overshadows. He further developed this concept in
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in 1998, he curated the “Urban
Encounters” exhibit, which highlighted the work of six Manhattan activist art collectives “generating political ferment and a lot of good art.” His conceptual group project
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writes that the book does not address “the ambiguities of demanding that ‘high culture’ be abolished while its institutions remain, and in effect get taken over by progressive artists-as-activists.”
356:(2022), covers South America, Serbia, Afghanistan, Hong Kong, Syria and other locations in addition to the US and Europe in a brief overview of protest aesthetics, and made it into the list of
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with “Insurrection,” which featured “a short text repeatedly silkscreened on four adjacent panels that remain half-concealed under a lush thicket of synthetic flora native to Latin
America.”
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Although his work has been criticized for primarily focusing on the New York art scene, Sholette has made three principal contributions in the field of art criticism and aesthetics.
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433:“Our Barricades,” Station Independent Projects, a series of stark black and white bas-relief pieces graphically linking the oily materiality of street barricades to global
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forces of late capitalism.” Mockinstitutions mimic institutional structures as a form of critical reinvention, see for example the projects of artist
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by urban planner Robert Moses. The project placed new islands around the
Panorama’s waterways based on proposals by Larry Bogad, Marc Fischer,
50:
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Sholette has sought to expand his scope of practice and study outside of New York. In 2019, he guest edited a special double issue of
273:(2010). This book engages with the mainstream conditions of the art system through the definition of what Sholette later describes in
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53:(1995); a BFA from The Cooper Union 1979; and was selected to be a Helena Rubinstein Fellow in Critical Studies (1995–1996) at the
449:
681:
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Lampert, Nicolas. “Permission to
Disrupt: REPOhistory and the Tactics of Visualizing Radical Social Movements in Public Space.”
292:, interprets the term as involving art "so embedded in reality that it is off the art radar." Art Historian Kuba Szreder at the
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352:, which reports on the rise of ultra-nationalism/authoritarianism from 30 different nations. His most recent book,
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is a New York-based artist, writer, educator, and activist. He is a
Professor of Sculpture and Social Practice at
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will soon be under construction. Venice, Italy with Queens College Social Practice Students/Alumni, 2015.
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Art As Social Action: An Introduction to the Principles & Practices of Teaching Social Practice Art
105:(2012-2016); and Dark Matter Supercollider Games (2015, S.a.L.E Docks cultural center, Venice, Italy).
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Edited by Jennifer A. Sandlin, Brian D. Schultz, Jake Burdick. Routledge, Taylor & Francis, 2009.
477:
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34:. Between 2011 and 2014 he served as a charter member of the Home Workspace Curriculum Committee in
434:
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on the evening of August 7, 2015 that consisted of a public procession staged in solidarity with
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collapse of modernism. In collaboration with art critics and scholars such as Jelena Stojanović,
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Beech, Dave. “Dark Matter: Art and Politics in the Age of Enterprise Culture Gregory Sholette,”
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406:“Precarious Workers Pageant,” a collaborative performance intervention carried out during the
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Sholette has curated several traveling exhibitions. While he was Curator of Education at the
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Dark Matter Games: An Interview with Gregory Sholette, Kuba Szreder and Noah Fischer.
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It’s the Political Economy, Stupid: The Global and Financial Crisis in Art and Theory
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27:
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Illegal Projections on Guggenheim Museum Protest Labor Practices in the Middle East.
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explore recent moments of protest.” In 2022, he contributed to traveling exhibition
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The Interventionists: A Users’ Manual for the Creative Disruption of Everyday Life,
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Productive Withdrawals: Art Strikes, Art Worlds, and Art as a Practice of Freedom.
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Imaginary islands fully realized ‘Greg Sholette: Fifteen Islands for Robert Moses
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The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life
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An Interview with Gregory Sholette about the Precarious Workers Pageant Project
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Cruzeiro, Cristina Pratas, Douglas, Anne, Madeira, Cláudia and Elias, Helena, "
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Help Imagine a "Past Whose Future Never Arrived" with Imaginary Archive in Kiev
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Encountering the Counterinstitution: Led by Resident Professor Gregory Sholette
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360:'s top art books of 2022. However, art critic and editor J.J. Charlesworth at
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Archived Opposition: “Art for the Future” at Tufts University Art Galleries.
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Sholette is also an author and editor and has written for journals such as
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1094:"Migrant Workers' Rights on Saadiyat Island in the United Arab Emirates"
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Sholette completed his PhD in the Memory Studies and Heritage Program,
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Collectivism after Modernism: The Art of Social Imagination after 1945
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Collectivism After Modernism: The Art of Social Imagination After 1945
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Handbook of Public Pedagogy: Education and Learning Beyond Schooling.
109:
35:
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The top art books of 2022—chosen by The Art Newspaper's books team
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Delirium and Resistance: Activist Art and the Crisis of Capitalism
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Delirium and Resistance: Activist Art and the Crisis of Capitalism
330:
Delirium and Resistance: Activist Art and the Crisis of Capitalism
702:
548:
Local Address: In Beirut: Art, Education, Institutions, Politics.
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Political Art Documentation/Distribution (PAD/D) Archive - 1983
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Dark Matter: Art and Politics in the Age of Enterprise Culture
218:, Sholette and Blake Stimson argue that the true potential of
30:, and Headquartered in the Center for the Humanities, at the
386:(co-edited with Chloë Bass, Skyworth/Allworth Press, 2018).
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Collectivism after Modernism: The Art of Social Imagination
26:, Co-Director of Social Practice CUNY, alongside professor
101:(2010-ongoing), It's The Political Economy, Stupid! with
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Riding, Jacqueline, Harris, Gareth and da Silva, José. “
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Episode 70: The intersection of art and social justice
441:, and the need for an aesthetics of resistance, 2014.
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Dark matter and the political economy of the art world
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to it so that it can be listed with similar articles.
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Social Fabrics: Wearable + Media + Interconnectivity.
901:, edited by Kim Charnley; foreword by Lucy R. Lippard
750:
Week 25: Dark Matter Archives & Imaginary Archive
398:(co-edited with Oliver Ressler, Pluto Press, 2012).
69:
based art collectives and group projects, including
978:, vol. 5 no. 1, 115-118. Taylor and Francis Online
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Art, Anti-Globalism, and the Neo-Authoritarian turn
905:FIELD: A Journal of Socially-Engaged Art Criticism
921:Monthly Review: An Independent Socialist Magazine
733:Wellington Collaboratorium: An Imaginary Archive.
1114:,," Arts vol. 11 no.1, January 17, 2022, p. 18.
809:. University of Chicago Press, December 6, 2017.
767:Dark Matter as a Metaphor for Arts Activism.”
180:Artists Call and Central American Solidarities
16:New York-based artist, educator, and activist.
645:Review: Gregory Sholette and Oliver Ressler.
8:
886:. Stanford: Stanford University Press, 1998.
378:The Art of Activism and the Activism of Art
354:The Activism of Art and the Art of Activism
73:or PAD/D (1980-1988) with Jerry Kearns and
24:Queens College, City University of New York
824:, eds. Nato Thompson and Gregory Sholette.
884:Homo Sacer: Sovereign Power and Bare Life
390:Merciless Aesthetic/Nemilosrdna estetika
71:Political Art Documentation/Distribution
493:
57:’s Independent Studies Program (ISP).
841:Blake Stimson and Gregory Sholette's
452:, which was originally built for the
7:
980:doi:10.2752/174967812X13287914145712
458:Aaron Gach/Center for Tactical Magic
170:In 2017, Sholette’s solo exhibition
49:, in 2017. He holds an MFA from the
940:, vol. 42 no. 2, 2009, p. 114-116.
870:, vol. 41 no. 3, 2008, p. 291-293.
665:It’s the Political Economy, Stupid.
585:, Library and Research Collections.
476:, Libertad Guerra, Dara Greenwald,
51:University of California, San Diego
1172:needs additional or more specific
716:ART IN REVIEW; 'Urban Encounters'.
654:, Vol. 52, No. 4-5, 2015, 230-232.
448:,” a site-specific project in the
396:It's the Political Economy, Stupid
14:
998:, vol. 70, no. 4, 2011, pp. 123.
652:Croatian Political Science Review
565:"Independent Study Program (ISP)"
148:Journal of Aesthetics and Protest
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450:Panorama of the City of New York
380:(London: Lund Humphries, 2022).
97:; and co-organized the projects
1077:The Paradox of Art-as-Activisim
897:Book Review: Gregory Sholette,
946:doi:10.1162/leon.2009.42.2.114
923:, vol. 63 no. 8, January 2012.
703:https://archive.newmuseum.org/
294:Academy of Fine Arts in Warsaw
280:as “bare art.” Borrowing from
206:co-edited with Nato Thompson.
55:Whitney Museum of American Art
1:
311:University of the Arts London
198:Building upon the concept of
392:(WHW Press, Croatia, 2016).
65:Sholette co-founded several
976:The Journal of Modern Craft
800:Eric Triantafillou reviews
328:In 2017 Sholette published
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699:New Museum Digital Archive
688:, September 2017, 103-116.
290:Louisiana State University
918:“Revenge of the Surplus.”
643:Štula, Vladimir Hunjak. “
632:The Architect’s Newspaper
552:School of Visual Arts NYC
546:MA Curatorial Practice. “
210:Collective artistic labor
1116:doi:10.3390/arts11010018
965:. No. 87. December 2017.
932:Ryan, Susan Elizabeth. “
802:Delirium and Resistance
338:Delirium and Resistance
275:Delirium and Resistance
47:University of Amsterdam
798:Triantafillou, Eric. “
737:Scoop Independent News
501:Social Practice Queens
309:Artist David Beech at
697:“Gregory Scholette.”
518:Indoor Voices Podcast
503:| Faculty and Staff".
319:Vanderbilt University
220:artistic collectivism
1100:. February 10, 2015.
1083:, December 16, 2022.
1075:Charlesworth, J.J. “
1049:Triantafillou, 2017.
828:Chicago Artists News
754:Plausible Art Worlds
520:. February 24, 2022.
512:Collins, Kathleen. “
85:(2011-ongoing) with
83:Gulf Labor Coalition
1142:Maria Fitzsimons, “
1029:Coombs, Gretchen. “
916:Léger, Marc James.
895:Brynjolson, Noni. “
772:. January 25, 2017.
680:Baravalle, Marco. “
321:, observes that in
251:), and in the post-
177:Art for the Future:
154:Art and exhibitions
1133:, October 7, 2014.
1098:Human Rights Watch
1064:The Art Newspaper,
1031:Gregory Sholette:
882:Agamben, Giorgio.
722:, August 14, 1998.
720:The New York Times
714:Cotter, Holland. “
313:writes that while
299:Marina Naprushkina
138:Oxford Art Journal
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1201:
1185:adding categories
1148:Queens Chronicle,
1126:Vartanian, Hrag.
1066:December 6, 2022.
1038:The Brooklyn Rail
1020:Lloyd, 2011, 123.
1011:Lloyd, 2011, 123.
990:Lloyd, Richard. “
907:, 9, Winter 2018.
789:. April 25, 2022.
781:Moalemi, Mahan. “
765:Larkin, Daniel. “
686:Art Leaks Gazette
671:, March 27, 2012.
634:, March 20, 2014.
626:Melcher, Henry. “
617:, April 28, 2016.
554:, March 16, 2017.
454:1964 World’s Fair
428:Guggenheim Museum
368:Other select work
358:The Art Newspaper
305:Criticism of work
165:Imaginary Archive
99:Imaginary Archive
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