000			03764cam a2200433 i 4500
001			ocn668194693
005			20210918062542.0
008			120313s2012 nyua b 001 0 eng
010			_a2012010607
020			_a9781844676903
020			_a1844676900
020			_z9781844677962 (ebook)
020			_a1844677966 (ebook)
020			_a9781844677962 (ebook)
029			_aV69393
029			_aV69470
035			_a(OCoLC)668194693 _z(OCoLC)804039298
040			_aDLC _beng _erda _cDLC _dYDX _dBTCTA _dYDXCP _dERASA _dUKMGB _dBDX _dYNK _dCIA _dOCLCO _dBWX _dCOO _dSTF _dMZA _dCDX _dGZM _dALAUL
042			_apcc
082	0	4	_a709.0407
100	1		_aBishop, Claire. _978960
245	1	0	_aArtificial hells : _bparticipatory art and the politics of spectatorship / _cClaire Bishop.
260			_aLondon ; _aNew York : _bVerso Books, _c2012.
300			_a382 pages : _billustrations ; _c24 cm.
336			_atext _2rdacontent.
337			_aunmediated _2rdamedia.
338			_avolume _2rdacarrier.
504			_aIncludes bibliographical references (pages 287-363) and index.
505	0		_aThe 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.
520			_aSince 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.
650		0	_aInteractive art _933552
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