HISTORY
Definition of collective (New Culture of Learning, Wikipedia, Merriam-Webster Dictionary, Listening, Thinking, Acting Together)
As a noun, collective refers to a "cooperative enterprise" (MW). As an adjective, collective refers to the efforts of a group of people, where all members of the affiliated group are participating and working towards a goal (MW). Human collective action is often thought of in terms of survival and problem-solving that cannot be accomplished on an individual level (NCL, Wiki, LTAT). According to evolutionary psychologist and theorist of Evolutionary Function, Joseph Jordania, the survival of prehistoric humans was possible through collective identity (Wiki). Threats to the early human species were much more physical since they had to fend off predators through intellect rather than physical defense such as speed. Through the process of group neural activity (accomplished through synchronized activities such as dancing or chanting), an individual is able to transcend "fear and pain... question[ing] the behavior of other members of their group, and are ready to sacrifice their lives for evolution's more important superordinate goals" (Wiki). Traces of this human instinct manifest in collectives today - although our threats have become less physical and more of a social, political and economic will to survive. Through collective identity, the survival of the group supersedes the needs of the individual (Wiki).
Artist guilds (World of the Florentine Renaissance Artist, Collaboration in Contemporary Artmaking, Listening, Thinking, Acting Together)
Collective identities arise in many areas of life, and art is no exception. One of the earliest recorded examples of artist collectives were in the Medieval Guilds and Renaissance Studios of Florence - at least in the Western world (WFRA). Their goals were mostly economic. Artist apprentices worked under a master artist to complete large-scale pieces - each guild or studio with their own master artist(s) competing with one another for patronage (WFRA, CCA). This competition eventually led to an economic requirement for a distinguished, recognizable style (CCA). This need for artistic style grew as the 17th century philosophy of Enlightenment developed, which emphasized liberty, individual rights and individualism (CCA, LTAT).
20th century collective identities (Why Did Communism Fail?, Art Worlds, The Pedagogy Group, Imagined Communities, Collaboration in Contemporary Artmaking page 53)
Western collective identities of the 20th century are influential to how people perceive themselves in the 21st century. Some key themes of 20th century identity include individual enlightenment, individualism, freedom from religion, and nationalism - all influenced by (or in reaction to) Enlightenment ideals of the 17th century. A common theme I've found throughout the research is that a lack of balance between the individual and society creates a reaction against oppression. Originally, individualism was a reaction against oppression of institutionalized religion. Communism was a reaction to capitalism, but ended up forcing people into collectivity and ultimately became oppressive and unsuccessful (WDCF). Nationalism was another collective identity, or what Benedict Anderson calls "imagined communities" that plagued the world -communists and capitalists alike - ultimately causing WWI and WWII (IC). Needless to say, collective identity wasn't necessarily seen in a positive way by Western people. Artists reacted by expressing their inner uniqueness and promoting their individualism - thus resulting in a stereotype of a "loner artistic genius" that still persists today (AW, PG, CCA). As 20th century individualism proved to exhaust itself, some artists began to work against the over-emphasis on individual success, notions of artistic genius and the commodification of art.
Influence of Fluxus & social sculpture (Fluxus/Tate, Collaboration in Contemporary Artmaking)
Fluxus was a global art collective during the 1960s - some would also argue it was a movement. Key people included Joseph Beuys, Yoko Ono, and Nam June Paik, while the key places were Germany, New York and Japan (FT). Tate Modern asserts that almost every avant-garde of the time participated in Fluxus in some way. Fluxus was fluid in its ideals and style - but was unified by a DIY attitude, humor and 'every day art' - often incorporating unconventional materials, performance and social interaction into the work (FT). Fluxus was a direct reaction to commercialism, the commodification of the art object, and exclusionary nature of artist circles (FT). One particularly important idea was Joseph Beuys' "social sculpture". Beuys asserted that everyone was an artist and social sculpture, or the shaping of culture and politics through artistic expression, was the most ideal work of art (FT). His pedagogy has arguably influenced today's conception of artist collectives, collaboration and socially engaged art. Overall, Fluxus opened the door to conceptual and socially engaged art and performance art that is becoming more widely embraced today (FT).
21st century collective identities (Thank You, Anarchy: Notes from the Occupy Apocalypse, Justseeds, Sustainable Activism for the 21st century, Take Back the Economy, New Culture of Learning, Collaboration in Contemporary Artmaking)
21st century collective identity is largely working in reaction to the adverse affects of global capitalism and colonialism (TYA, SA, TBTE). This rings true in my experience growing up in a globalized, ever-connected world in the US. Key themes of the 21st century include globalization, environmental endangerment, wealth disparity, and access to knowledge via the Internet (SA, TBE, NCL). Some scholars believe that we are moving away from the age of the individual, and that collective problem solving is more crucial than ever (CCA). Human threats now are environmental, social, political and economic - but we are still banding together like ancient peoples to survive. Our challenge as a human race now is to balance collective effort with individual autonomy.
Definition of collective (New Culture of Learning, Wikipedia, Merriam-Webster Dictionary, Listening, Thinking, Acting Together)
As a noun, collective refers to a "cooperative enterprise" (MW). As an adjective, collective refers to the efforts of a group of people, where all members of the affiliated group are participating and working towards a goal (MW). Human collective action is often thought of in terms of survival and problem-solving that cannot be accomplished on an individual level (NCL, Wiki, LTAT). According to evolutionary psychologist and theorist of Evolutionary Function, Joseph Jordania, the survival of prehistoric humans was possible through collective identity (Wiki). Threats to the early human species were much more physical since they had to fend off predators through intellect rather than physical defense such as speed. Through the process of group neural activity (accomplished through synchronized activities such as dancing or chanting), an individual is able to transcend "fear and pain... question[ing] the behavior of other members of their group, and are ready to sacrifice their lives for evolution's more important superordinate goals" (Wiki). Traces of this human instinct manifest in collectives today - although our threats have become less physical and more of a social, political and economic will to survive. Through collective identity, the survival of the group supersedes the needs of the individual (Wiki).
Artist guilds (World of the Florentine Renaissance Artist, Collaboration in Contemporary Artmaking, Listening, Thinking, Acting Together)
Collective identities arise in many areas of life, and art is no exception. One of the earliest recorded examples of artist collectives were in the Medieval Guilds and Renaissance Studios of Florence - at least in the Western world (WFRA). Their goals were mostly economic. Artist apprentices worked under a master artist to complete large-scale pieces - each guild or studio with their own master artist(s) competing with one another for patronage (WFRA, CCA). This competition eventually led to an economic requirement for a distinguished, recognizable style (CCA). This need for artistic style grew as the 17th century philosophy of Enlightenment developed, which emphasized liberty, individual rights and individualism (CCA, LTAT).
20th century collective identities (Why Did Communism Fail?, Art Worlds, The Pedagogy Group, Imagined Communities, Collaboration in Contemporary Artmaking page 53)
Western collective identities of the 20th century are influential to how people perceive themselves in the 21st century. Some key themes of 20th century identity include individual enlightenment, individualism, freedom from religion, and nationalism - all influenced by (or in reaction to) Enlightenment ideals of the 17th century. A common theme I've found throughout the research is that a lack of balance between the individual and society creates a reaction against oppression. Originally, individualism was a reaction against oppression of institutionalized religion. Communism was a reaction to capitalism, but ended up forcing people into collectivity and ultimately became oppressive and unsuccessful (WDCF). Nationalism was another collective identity, or what Benedict Anderson calls "imagined communities" that plagued the world -communists and capitalists alike - ultimately causing WWI and WWII (IC). Needless to say, collective identity wasn't necessarily seen in a positive way by Western people. Artists reacted by expressing their inner uniqueness and promoting their individualism - thus resulting in a stereotype of a "loner artistic genius" that still persists today (AW, PG, CCA). As 20th century individualism proved to exhaust itself, some artists began to work against the over-emphasis on individual success, notions of artistic genius and the commodification of art.
Influence of Fluxus & social sculpture (Fluxus/Tate, Collaboration in Contemporary Artmaking)
Fluxus was a global art collective during the 1960s - some would also argue it was a movement. Key people included Joseph Beuys, Yoko Ono, and Nam June Paik, while the key places were Germany, New York and Japan (FT). Tate Modern asserts that almost every avant-garde of the time participated in Fluxus in some way. Fluxus was fluid in its ideals and style - but was unified by a DIY attitude, humor and 'every day art' - often incorporating unconventional materials, performance and social interaction into the work (FT). Fluxus was a direct reaction to commercialism, the commodification of the art object, and exclusionary nature of artist circles (FT). One particularly important idea was Joseph Beuys' "social sculpture". Beuys asserted that everyone was an artist and social sculpture, or the shaping of culture and politics through artistic expression, was the most ideal work of art (FT). His pedagogy has arguably influenced today's conception of artist collectives, collaboration and socially engaged art. Overall, Fluxus opened the door to conceptual and socially engaged art and performance art that is becoming more widely embraced today (FT).
21st century collective identities (Thank You, Anarchy: Notes from the Occupy Apocalypse, Justseeds, Sustainable Activism for the 21st century, Take Back the Economy, New Culture of Learning, Collaboration in Contemporary Artmaking)
21st century collective identity is largely working in reaction to the adverse affects of global capitalism and colonialism (TYA, SA, TBTE). This rings true in my experience growing up in a globalized, ever-connected world in the US. Key themes of the 21st century include globalization, environmental endangerment, wealth disparity, and access to knowledge via the Internet (SA, TBE, NCL). Some scholars believe that we are moving away from the age of the individual, and that collective problem solving is more crucial than ever (CCA). Human threats now are environmental, social, political and economic - but we are still banding together like ancient peoples to survive. Our challenge as a human race now is to balance collective effort with individual autonomy.
Joseph Beuys explaining his concept of "social sculpture".