MARC Record from harvard_bibliographic_metadata

LEADER: 03313cam a2200385 i 4500
001 013348774-1
005 20121108150759.0
008 120313t20122012nyua b 001 0 eng
010 $a 2012010607
016 7 $a015767926$2Uk
020 $a9781844676903
020 $a1844676900
020 $z9781844677962 (ebook)
020 $a1844677966 (ebook)
020 $a9781844677962 (ebook)
035 0 $aocn668194693
040 $aDLC$beng$erda$cDLC$dYDX$dBTCTA$dYDXCP$dERASA$dUKMGB$dBDX$dYNK$dCIA$dOCLCO$dBWX$dCOO$dSTF$dMZA$dCDX$dGZM
042 $apcc
050 00 $aN6494.I57$bB57 2012
082 00 $a709.04/07$223
100 1 $aBishop, Claire.
245 10 $aArtificial hells :$bparticipatory art and the politics of spectatorship /$cClaire Bishop.
260 $aLondon ;$aNew York :$bVerso Books,$c2012, ©2012.
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 $a"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."--Page 4 of cover.
650 0 $aInteractive art.
899 $a415_565082
988 $a20120912
049 $aHLSS
906 $0DLC