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Artificial hells [electronic resource] : participatory art and the politics of spectatorship / Claire Bishop.

By: Material type: TextTextPublication details: London : Verso, 2012.Description: 1 online resource (382 p.) : ill., portsISBN:
  • 9781844677962:
  • 1844677966
  • 9781844676903
  • 1844676900
Subject(s): Additional physical formats: Print version :: No titleDDC classification:
  • 709.0407
LOC classification:
  • B57 2012
Contents:
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: spectacle and participation.
Summary: 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. -- Back cover.
Holdings
Item type Current library Call number Copy number Status Date due Barcode
General Lending Wexford Campus Library Wexford General Lending 709.0407 (Browse shelf(Opens below)) 1 Checked out 27/02/2018 74409
General Lending Wexford Campus Library Wexford General Lending 709.0407 (Browse shelf(Opens below)) 1 Available 74410

Includes bibliographical references (pages 287-363) and index.

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: spectacle and participation.

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. -- Back cover.

Description based on print version record.

24.99

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