[[ Download ]] Artificial Hells: Participatory Art and the Politics of SpectatorshipAuthor Claire Bishop – Gsagency.co

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, Bishops Arguments Are Convincingly Supported And Potentially Very ContentiousA Critically Challenging Work Of Vital Scholarship Publishers WeeklyAn Essential Title For Contemporary Art History Scholars And Students As Well As Anyone Who Has Witnessed A Participatory Art Happening And Thought, Now Thats Art Or Thats Art Library JournalBishop Seeks A Standard For Judging Participatory WorksShe Draws On The Writings Of French Philosopher Jacques Rancire 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 ConsensusEleanor Heartney, Art In AmericaPellucidAlexander Provan, New York ObserverThe Good Intentions Of Contemporary Artists Frequently Pave A Road To Hell Claire Bishop Follows Their Descent Into The Inferno And Invites Her Readers To Share Her Fascination With What She Finds Along The Way Artificial Hells Combines Vast Historical Knowledge With A Precise Analysis Of Individual Artistic Practices So Much So That At The End Of Her New Book We Have Begun To Fall In Love With Hellunder The Condition That It Remains ArtificialBoris Groys, Author Of Art PowerSince The S, 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 JacksonArtificial 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 S 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 ChanSince Her Controversial Essay In Artforum In , 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 Forcompelling, Troubling And Bolder Forms Of Participatory Art And Criticism