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Artificial Hells Participatory Art and the Politics of Spectatorship

ISBN-10: 1844676900
ISBN-13: 9781844676903
Edition: 2011
Authors: Claire Bishop
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Description: For over a decade, conceptual and performance art has been dominated by participatory art. its champions, such as French curator Nicolas Bourriaud (who invented the term 'œrelational aesthetics' to describe it) and American art historian Grant  More...

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Book details

List price: $29.95
Copyright year: 2011
Publisher: Verso Books
Publication date: 7/24/2012
Binding: Paperback
Pages: 390
Size: 6.25" wide x 9.25" long x 1.50" tall
Weight: 1.628
Language: English

For over a decade, conceptual and performance art has been dominated by participatory art. its champions, such as French curator Nicolas Bourriaud (who invented the term 'œrelational aesthetics' to describe it) and American art historian Grant Kester, believe that by encouraging an audience to join in, the artist can promote new emancipatory social relations. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art. The book follows the trajectory of twentieth-century art and examines key moments in the development of the participatory aesthetic, in both Europe and America. This itinerary takes in Futurism, Dada, situationism, Czechoslovakian Happenings, and Argentinean Conceptualism, and concludes with contemporary artists such as Thomas Hirschhorn, Tania Bruguera and Jeremy Deller. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to expose the political and aesthetic limitations of this work. In Artificial Hells she not only scrutinizes the claims for democracy and emancipation that the artists and critics make for the work, but also questions the turn to ethical (rather than artistic) criteria invited by such participatory and collaborative art.

Claire Bishop is the author of Installation Art: A Critical History and a contributor to many art journals, including ArtForum, Flash Art, and October. She is a Lecturer in History of Art at the University of Warwick.

Introduction
The Social Turn: Collaboration and Its Discontents
Artificial Hells: The Historic Avant-garde
Je participe, tu participes, il participe ...
Social Sadism Made Explicit
The Social Under Socialism
Incidental People: APG and Community Arts
Former West: Art as Project in the Early 1990s
Delegated Performance: Outsourcing Authenticity
Pedagogic Projects: 'How do you bring a classroom to life as if it were a work of art?'
Conclusion
Notes
Acknowledgements
Illustration Credits
Index

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