Artificial Hells: Participatory Art and the Politics of Spectatorship
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About this ebook
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.
Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan.
Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling, and bolder forms of participatory art and criticism.
David Stradling
Claire Bishop is Associate Professor in the History of Art department at the CUNY Graduate Center, New York. She is the author of Installation Art: A Critical History; Artificial Hells: Participatory Art and the Politics of Spectatorship; and editor of Participation. in 2008 she co-curated the exhibition "Double Agent" at the ICA. She is a regular contributor to Artforum, October, Tate Etc, IDEA, and other international art magazines.
Read more from David Stradling
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Reviews for Artificial Hells
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- Rating: 5 out of 5 stars5/5Like all good criticism, Claire Bishop's Artificial Hells adds both context and complexity to the subject. The book traces the lineage of participatory art (socially engaged art, social practice, etc.) and gives a historical frame of reference for investigating the current incarnations of this form of art-making. Throughout this, Bishop maintains a critical stance and offers an insightful assessment of this practice. She refuses to unquestioningly accept the social or artistic worth or efficacy of participatory art, and makes a convincing argument of the need to refine the standards by which we judge such works. To her credit as well, Bishop deftly incorporates the work of complex theorists and philosophers (Ranciere, Guattari) into her arguments- making their concepts clear and relevant to the book's argument. Well worth reading for those interested in contemporary artistic practice or the intersections of art and social/political action.