Artificial Hells

Participatory Art and the Politics of Spectatorship

Author: Claire Bishop

Publisher: Verso Books

ISBN: 1844677966

Category: Art

Page: 390

View: 5835

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, Pawe? 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.
Posted in Art

Artificial Hells: Participatory Art and the Politics of Spectatorship

Author: Claire Bishop

Publisher: Verso Books

ISBN: 1844676900

Category: Art

Page: 382

View: 7901

A searing critique of participatory art by the historian author of Installation Art traces art development throughout the 20th century to examine key moments in the participatory discipline to expose its political and aesthetic limitations. Original.
Posted in Art

Education for Socially Engaged Art

A Materials and Techniques Handbook

Author: Pablo Helguera

Publisher: N.A

ISBN: 9781934978597

Category: Art

Page: 91

View: 9535

"For too long Social Practice has been the notoriously flimsy flipside of market-based contemporary art: a world of hand-wringing practitioners easily satisfied with the feeling of 'doing good' in a community, and unaware that their quasi-activist, anti-formalist positions in fact have a long artistic heritage and can be critically dissected using the tools of art and theatre history. Helguera's spunky primer promises to offer a much-needed critical compass for those adrift in the expanded social field." -Claire Bishop, Professor of Contemporary Art and Exhibition History, CUNY, and author of Artificial Hells: Participatory Art and the Politics of Spectatorship "This is an extremely timely and thoughtful reference book. Drawn from empirical and extensive experience and research, it provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices. Rather than propose a system he exposes the temporalities necessary to make these situations possible and resonant. This is a tool that will allow us to consider the difficulties of making socially engaged art and move closer to finding a language through which we can represent and discuss its impact." -Sally Tallant, Artistic Director, Liverpool Biennial "Helguera has produced a highly readable book that absolutely needs to be in the back pocket of anyone interested in teaching or learning about socially engaged art" -Tom Finkelpearl, Director of the Queens Museum, New York, and author of Dialogues in Public Art
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Social Works

Performing Art, Supporting Publics

Author: Shannon Jackson

Publisher: Taylor & Francis

ISBN: 1136979832

Category: Art

Page: 320

View: 3545

Shannon Jackson's Social Works mediates between visual and performance studies, incorporating political, aesthetic and social discourses. This book uses case studies and contemporary methodologies to give insight into experimental art-making.
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Author: Claire Bishop

Publisher: Mit Press

ISBN: 9780262524643

Category: Art

Page: 207

View: 7350

Art that seeks to produce situations in which relations are formed among viewers is placed in historical and theoretical context in key writings by critics and artists.
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What We Made

Conversations on Art and Social Cooperation

Author: Tom Finkelpearl

Publisher: Duke University Press

ISBN: 0822352893

Category: Art

Page: 388

View: 9224

What We Made presents a series of fifteen conversations in which contemporary artists who create activist, participatory work discuss the cooperative process. Colleagues from fields including architecture, art history, urban planning, and new media join the conversations.
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Living as Form

Socially Engaged Art from 1991-2011

Author: Nato Thompson

Publisher: MIT Press

ISBN: 0262017342

Category: Art

Page: 259

View: 3400

'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
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The Politics of Performance

Author: Peggy Phelan

Publisher: Routledge

ISBN: 113491640X

Category: Performing Arts

Page: 224

View: 6789

Unmarked is a controversial analysis of the fraught relation between political and representational visibility in contemporary culture. Written from and for the Left, Unmarked rethinks the claims of visibility politics through a feminist psychoanalytic examination of specific performance texts - including photography, painting, film, theatre and anti-abortion demonstrations.
Posted in Performing Arts

Anywhere or Not at All: Philosophy of Contemporary Art

Author: Peter Osborne

Publisher: Verso

ISBN: 1781680949

Category: Art

Page: 288

View: 2812

A new reading of the philosophy of contemporary art by the author of The Politics of Time Contemporary art is the object of inflated and widely divergent claims. What kind of discourse can help us give it a critical sense? Anywhere or Not At All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Setting out the claim that ‘contemporary art is postconceptual art’, the book elaborates a series of conceptual constructions and interpretations of works by Navjot Altaf, the Atlas Group, Amar Kanwar, Sol LeWitt, Gordon Matta-Clark, Gerhard Richter and Robert Smithson, among others. It concludes with new accounts of the institutional and existential complexities of ‘art space’ and ‘art time’. Anywhere or Not At All maps out the conceptual coordinates for an art that is both critical and contemporary in the era of global capitalism.
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The One and the Many

Contemporary Collaborative Art in a Global Context

Author: Grant H. Kester

Publisher: Duke University Press

ISBN: 0822349876

Category: Art

Page: 309

View: 1945

DIVExamines questions of agency, artisanship, and identity in relation to collaborative art practice./div
Posted in Art

Dark Matter

Art and Politics in the Age of Enterprise Culture

Author: Gregory Sholette

Publisher: Pluto Press

ISBN: 9780745327525

Category: Art

Page: 304

View: 5655

Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalized artists, the "dark matter" of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this "dark matter" of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.
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Art and Social Movements

Cultural Politics in Mexico and Aztlán

Author: Ed McCaughan

Publisher: Duke University Press

ISBN: 082235182X

Category: Art

Page: 207

View: 6753

This is a study of artist/activists and their participation in social movements in the 1960s, 70s, and 80s, in Mexico City, Oaxaca, and California. McCaughan places the three movements within their own local histories, cultures, and conditions, but also links them to the 1968 rebellions that were going on across the world.
Posted in Art

Conversation Pieces

Community and Communication in Modern Art

Author: Grant H. Kester

Publisher: Univ of California Press

ISBN: 0520275942

Category: Art

Page: 239

View: 4677

Grant Kester discusses the disparate network of artists & collectives united by a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, & culture.
Posted in Art

Radical Museology, Or, What's Contemporary in Museums of Contemporary Art?

Author: Claire Bishop

Publisher: Walther Konig


Category: Art

Page: 79

View: 3124

"In the face of austerity cuts to public funding, a handful of museums of contemporary art have devised compelling alternatives to the mantra of bigger is better and richer. Radical museology presents the collection displays of the Van Abbemuseum in Enhoven, the Museo Nacional de Reina Sofía in Madrid and MSUM in Ljubljana as outlines of a new understanding of the contemporary in contemporary art. Radical museology is a vivid manifesto for the contemporary as a method rather than a periodization, and for the importance of a politicized representation of history in museum of contemporary art."--Page 4 de couverture.
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Art and social change

a critical reader

Author: Will Bradley,Charles Esche

Publisher: Tate


Category: Art

Page: 479

View: 3733

"This reader gathers together an international selection of artists' proposals, manifestos, theoretical texts and public declarations that focus on the question of political engagement and the possibility of social change"--back cover.
Posted in Art

Interactive Contemporary Art

Participation in Practice

Author: Kathryn Brown

Publisher: I.B.Tauris

ISBN: 1780765517

Category: Art

Page: 304

View: 3371

Audience participation has polarized recent debates about contemporary art. This collection of essays sheds new light on the political, ethical and aesthetic potential of participatory artworks and tests the very latest theoretical approaches to this subject. Internationally renowned art historians, curators and artists analyze the impact of collaborative aesthetics on personal and social identity, concepts of the artist, the ontology of art and the role of museums in contemporary society. Essential reading for students and specialists, Interactive Contemporary Art offers a vital critical evaluation of interactivity in contemporary art.
Posted in Art

Notes on Participatory Art

Toward a Manifesto Differentiating it from Open Work, Interactive Art and Relational Art.

Author: Gustaf Almenberg

Publisher: AuthorHouse

ISBN: 1452039569

Category: Art

Page: 232

View: 1569

We are living in the Age of Participation. Social media are exploding, customer cooperation is sought in product development, and customer content is even built into media. But where is the art reflecting our times? Where are the artists making this kind of art? Who were their predecessors? In this book the author traces the roots of Participatory Art from Duchamp, Mondrian and Moholy-Nagy via less well known artists like Lygia Clark and Charlotte Posenenske as well as via better known artists like Joseph Beuys and Öyvind Fahlström to contemporary artists showing an interest in participation like Olafur Eliasson and Antony Gormley. “Participation is the most important thing that has happened in art” Gormley said in 2009. What, then, is Participatory Art? After around 40 years of practice the author tries to distill the essential principles in 10 suggestions for a Manifesto. Most central is its focus on the unfolding creative moment itself and on the creativity of the spectator.
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The Art of Participation

1950 to Now

Author: Rudolf Frieling

Publisher: N.A


Category: Architecture

Page: 212

View: 2661

The first fully illustrated survey of participatory art and its key practitioners, published in association with the San Francisco Museum of Modern Art.
Posted in Architecture

Strike Art

Contemporary Art and the Post-Occupy Condition

Author: Yates McKee

Publisher: N.A

ISBN: 9781784786816


Page: 304

View: 4180

The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new--if internally fraught--political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other--oftentimes directly targeting major art institutions themselves as sites of action. Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement. Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.
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