Artificial Hells: Participatory Art And The Politics Of SpectatorshipArtificial Hells: Participatory Art And The Politics Of Spectatorship New and Updated: What is participatory art: the essential critique of Social Practice The award winning, highly acclaimed Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as 'social practice.' In recent decades, the art gallery and the museum have become a place for participatory art, where an audience is

Artificial Hells: Participatory Art And The Politics Of Spectatorship

New and Updated: What is participatory art: the essential critique of Social Practice

The award-winning, highly acclaimed Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as 'social practice.' In recent decades, the art gallery and the museum have become a place for participatory art, where an audience is encouraged to take part in the artwork. This has been heralded as a revolutionary practise that can promote new emancipatory social relations. What was it is really?

In this fully updated edition, 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.

Bishop challenges the political and aesthetic ambitions of participatory art this practise. She not only scrutinizes the emancipatory claims, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. In response 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.

'Claire Bishop has articulated an important historical overview of the global emergence of participatory art ... Her controversial and thought-provoking conclusions courageously trouble our assumptions about the effectiveness of political artworks, questioning their oppositional quality, their effects on the audiences they reach, and their relation to the institutions that promote them.' - Frank Jewett Mather Award, 2013

'Bishop's arguments are convincingly supported and potentially very contentious...A critically challenging work of vital scholarship.' - Publishers Weekly

'An essential title for contemporary art history scholars and students as well as anyone who has witnessed a participatory art 'happening' and thought, 'Now that's art!' or 'That's art?'' - Library Journal

'Bishop seeks a standard for judging participatory works...She draws on the writings of French philosopher Jacques Ranciere to argue that art must maintain a degree of autonomy and unreadability in order to resist co-option by the political and economic forces intent on imposing a false social consensus.' - Art in America

'Pellucid' - New York Observer

SPECIFICATIONS:

Author:Claire Bishop - Клэр Бишоп

Publisher:Verso Books

Language:English

Publication Date:2023

Number of pages:400 pst

Format:Paperback

Width:153 mm / 6'

Height:234 mm / 9,2'

Weight:446 g

ISBN:9781839767753