
gregory sholette
MORE ESSAYS ARE FOUND AT: http://www.gregorysholette.com/ & https://gregsholette.tumblr.com/ Dr. Gregory Sholette is a New York-based artist, writer, teacher and activist. He is a Professor at Queens College, City University of New York (CUNY), as well as Co-Director with Professor Chloë Bass of Social Practice CUNY headquartered in the Center for the Humanities, Graduate Center, and an associate of the Art, Design and the Public Domain program of Harvard University's Graduate School of Design. Sholette holds a PhD in History and Memory Studies from the University of Amsterdam, The Netherlands (2017), he is a graduate of the Whitney Independent Study Program in Critical Theory (1996), Graduate of University of California San Diego (1995), The Cooper Union School of Art (1979), and Bucks County Community College (AAS 1976). Sholette is the curator of Imaginary Archive: a peripatetic collection of documents speculating on a past whose future never arrived. His art and research theorize and document issues of collective cultural labor, activist art, and counter-historical representation. He is active with Gulf Labor Coalition and was a co-founder of the collectives Political Art Documentation/Distribution (PAD/D: 1980-1988), and REPOhistory (1989-2000). His most recent publications include the books Delirium and Resistance: Activist Art and the Crisis of Capitalism (2017); Art As Social Action (with Chloë Bass: 2018); Dark Matter: Art and Politics in the Age of Enterprise Culture (2011) currently being translated into Portuguese and Spanish editions.
Supervisors: (PhD) dr. Christa-Maria Lerm-Hayes, the University of Amsterdam, the Netherlands
Address: 119 Payson Ave. #6F
New York, NY 10034 USA
Supervisors: (PhD) dr. Christa-Maria Lerm-Hayes, the University of Amsterdam, the Netherlands
Address: 119 Payson Ave. #6F
New York, NY 10034 USA
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Papers by gregory sholette
Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art maps, critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to it. Gregory Sholette approaches his subject from the dual perspective of commentator (as scholar and writer) and insider (as activist artist), in order to propose that the narrowing gap separating forms of activist art from an aesthetics of protest is part of a broader paradigm shift constituted by the multiplying crises within contemporary capitalism and democratic governance across the globe.
condition of artistic work, it has inevitably generated a resistant response from art’s institutional sector. This paper offers a brief history of this
love/hate (or perhaps hate/love?) relationship between art and state/private/religious management, along with a few thoughts about how this complex affair continues to inform and to shape contemporary art in the 21st century. Published to accompany a major exhibition held at the Musée cantonal des Beaux-Arts de Lausanne during spring 2022 (18 February - 15 May),
ISBN 9781554583119
Ireland (Dublin)
Emma Mahony
UK (Plyymouth)
Kim Charnley
Poland (Warsaw)
Kuba Szreder
Serbia (Belgrade)
rena raedle
Australia (Melbourne)
Nikos Papastergiadis
Germany (U. Zeppelin, Friedrichshafen)
Karen van den Berg
France (Paris)
Vanessa Theodoropoulou
S. Africa (Cape Town)
Nkule Mabaso
Mexico (Puebla)
Alberto López Cuenca
Colombia (Bogotá)
Jimena Andrade, Victoria Argoty, Daniel Castellanos,
Camila Cifuentes, Miguel Estupiñán, María Gamarra,
Guerthy Gutiérrez, Susana Lyons, Silvia Valderrama,
Esthefanny Yague, Nicolás Vargas.
US Great Lakes Region,
Dan S Wang
Brazil (São Paulo )
Andre Mesquita
Sweden (Gothenburg)
Fredrik Svensk
Russia (St. Petersburg)
Dmitry Vilensky & Chto Delat?
Puerto Rico/S.Bronx,
Libertad Guerra & Monxo Lopez
China (Hong Kong)
Bo Zheng
West Coast (Bay Area),
Jeffrey Skoller
Palestine/Gaza,
Amin Husain & Nitasha Dhillon
S. Korea,
Heng-Gil Han
Italy (Venice)
Marco Baravalle
Philadelphia
Nato Thompson
Indigenous Canada
Lindsay Nixon
India
Mriganka Madhukaillya
Bangladesh
Katatare Prajapati Collective
Networked World
Chloë Bass
NATO Alliance
Marc Leger
Hungary
Kata Benedek & Ágnes Básthy
European Academic Precariousness
Carlos Garrido Castellano
An essay commissioned for the exhibition, "A Moderate Proposal," and published by the Pitzer College Art Galleries, 2018, curated by Ciara Ennis and Jennifer Vanderpool: https://www.pitzer.edu/manifesto/
helping to topple the Vendome Column in
1871), except something about such historical repetition and reenactment at this time –a moment best described as an uncanny present: a present unfamiliar in its very presentness (Rebecca Bryant)– cries out for something like verification. The essay (published in ASAP Journal 3.2 2018) asks is such a thing as proof of authenticity even possible?
Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art maps, critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to it. Gregory Sholette approaches his subject from the dual perspective of commentator (as scholar and writer) and insider (as activist artist), in order to propose that the narrowing gap separating forms of activist art from an aesthetics of protest is part of a broader paradigm shift constituted by the multiplying crises within contemporary capitalism and democratic governance across the globe.
condition of artistic work, it has inevitably generated a resistant response from art’s institutional sector. This paper offers a brief history of this
love/hate (or perhaps hate/love?) relationship between art and state/private/religious management, along with a few thoughts about how this complex affair continues to inform and to shape contemporary art in the 21st century. Published to accompany a major exhibition held at the Musée cantonal des Beaux-Arts de Lausanne during spring 2022 (18 February - 15 May),
ISBN 9781554583119
Ireland (Dublin)
Emma Mahony
UK (Plyymouth)
Kim Charnley
Poland (Warsaw)
Kuba Szreder
Serbia (Belgrade)
rena raedle
Australia (Melbourne)
Nikos Papastergiadis
Germany (U. Zeppelin, Friedrichshafen)
Karen van den Berg
France (Paris)
Vanessa Theodoropoulou
S. Africa (Cape Town)
Nkule Mabaso
Mexico (Puebla)
Alberto López Cuenca
Colombia (Bogotá)
Jimena Andrade, Victoria Argoty, Daniel Castellanos,
Camila Cifuentes, Miguel Estupiñán, María Gamarra,
Guerthy Gutiérrez, Susana Lyons, Silvia Valderrama,
Esthefanny Yague, Nicolás Vargas.
US Great Lakes Region,
Dan S Wang
Brazil (São Paulo )
Andre Mesquita
Sweden (Gothenburg)
Fredrik Svensk
Russia (St. Petersburg)
Dmitry Vilensky & Chto Delat?
Puerto Rico/S.Bronx,
Libertad Guerra & Monxo Lopez
China (Hong Kong)
Bo Zheng
West Coast (Bay Area),
Jeffrey Skoller
Palestine/Gaza,
Amin Husain & Nitasha Dhillon
S. Korea,
Heng-Gil Han
Italy (Venice)
Marco Baravalle
Philadelphia
Nato Thompson
Indigenous Canada
Lindsay Nixon
India
Mriganka Madhukaillya
Bangladesh
Katatare Prajapati Collective
Networked World
Chloë Bass
NATO Alliance
Marc Leger
Hungary
Kata Benedek & Ágnes Básthy
European Academic Precariousness
Carlos Garrido Castellano
An essay commissioned for the exhibition, "A Moderate Proposal," and published by the Pitzer College Art Galleries, 2018, curated by Ciara Ennis and Jennifer Vanderpool: https://www.pitzer.edu/manifesto/
helping to topple the Vendome Column in
1871), except something about such historical repetition and reenactment at this time –a moment best described as an uncanny present: a present unfamiliar in its very presentness (Rebecca Bryant)– cries out for something like verification. The essay (published in ASAP Journal 3.2 2018) asks is such a thing as proof of authenticity even possible?