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Artificial Hells: Participatory Art and the Politics of Spectatorship


  


 : Artificial Hells: Participatory Art and the Politics of Spectatorship
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Binding: Paperback
Brand: Verso
EAN: 9781844676903
Edition: Original
Feature: Verso
ISBN: 1844676900
Item Dimensions: 921605135118
Label: Verso
Languages: EnglishPublishedEnglishOriginal LanguageEnglishUnknown
Manufacturer: Verso
Number Of Items: 1
Number Of Pages: 390
Publication Date: July 24, 2012
Publisher: Verso
Release Date: July 24, 2012
Studio: Verso

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Editorial Review:

Product Description:
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, Pawe? 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.





 



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