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Reveals the invention of the readymade as a critical point in contemporary art. Arguing that the readymade belongs to that moment in the history of painting when both figuration and the practice of painting become "impossible," this book presents a psychoanalytically informed account of the birth of abstraction.

Considers the video game as a distinct cultural form that demands a unique interpretive framework. This book analyzes video games as something to be played rather than as texts to be read, and traces how the "algorithmic culture" created by video games intersects with theories of visuality, realism, allegory, and the avant-garde.

Focuses on representations of capitalism and their political effects. This edition includes an introduction in which the authors address critical responses to "The End of Capitalism" and outlines the economic research and activism they have been engaged in since the book was first published.

Explores the "avisual" and its effect on the visual world. Dreams, x-rays, atomic radiation, and "invisible men" are phenomena that are visual in nature but unseen. Revealing these hidden interiors of cultural life, this book focuses on historical moments in which the modes of avisuality came into being.

"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 Stojanovib́, 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"d: 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

Floyd brings queer critique to bear on the Marxian categories of reification and totality and considers the dialectic that frames the work of Georg Lukas, Herbert Marcuse and Frederic Jameson.

Using Robert Reich's "The Work of Nations" as a springboard, the text argues that globalism coupled with disparities of wealth and power, changes the work of nations and the role of communities. It examines local entrepreneurial policy choices in the context of economic and political restructuring.

The definitive biography of American filmmaker Nicholas Ray

The rediscovery of a major voice in modern gay poetry and twentieth-century letters.

An engaging collection that explores the politics of material objects.

Nick Dyer-Witheford is associate professor and associate dean in the Faculty of Information and Media Studies at the University of Western Ontario. Greig de Peuter is a doctoral candidate in the School of Communication at Simon Fraser University.

Explores the symbiosis of philosophy and literature in understanding negativity.

A beloved naturalist's guide to the northern wilderness around her remote cabin."Helen Hoover is one of those rare writers who can describe the natural world warmly, intimately, and affectionately without being in the least sentimental or childish". Paul GruchowIn 1954, Helen Hoover and her husband Adrian left their careers and the big-city life of Chicago to live in a small cabin in the north woods that border Minnesota and Canada. Living without electricity, telephone, or a car, the Hoovers became part of the environment, peacefully coexisting with their wild neighbors.The Long-Shadowed Forest is the amazing record of the Hoovers' relationship with deer, mice, birds, squirrels, moose, and other creatures of the forest. First published in 1963, these stories of daily life in the woods and vivid descriptions of a fascinating variety of plants and animals delighted readers for years and have an enduring popularity.