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Participation (Whitechapel
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"A rigorous introduction to debates on the relations between art and society, community and collective agency, from the rise of socially based art in the 1960s to the present... What is an authentic concept of contemporary democracy, and how can art address it? What is the social value of participatory authorship, and what are the aesthetic limits of the social turn in art? These are crucial questions today, and this is an inexhaustible resource for those who want to answer them." Viktor Misiano , Curator and Chief Editor of Moscow Art Magazine "Claire Bishop has distilled an opinionated treasury of analytical writings, empirical narration, and curatorial criticism. Her editorial enterprise results in a volume that lays out key concepts intrinsic to recent participatory art practices and illuminates a cross-section of social dynamics such practices activate and express." Julie Ault , artist, co-founder of Group Material "The current focus on relational aesthetics seems to have been largely detrimental to a more complex, nuanced and art-historically informed discussion on participatory practices. Claire Bishop's thoughtful anthology will hopefully begin to remedy this situation. Her book provides the theoretical and historical tools that are essential to perform a closer reading of participatory practices, current and past. Precisely organized and carefully selected, this anthology will surely be consulted widely, both by professionals and students. To its usefulness and clarity, Bishop's book adds a concern for a geographically expanded field of inquiry, so that her version of history is gladly one that does not disregard the evidence -- as much recent writing unfortunately still does -- when it comes from outside the well-trodden paths of the Western canon." ---Carlos Basualdo , Curator of Contemporary Art, Philadelphia Museum of Art

About the Author

Claire Bishop is the author of Installation Art- A Critical History and a contributor to many art journals, including ArtForum, Flash Art, and October. She is a Lecturer in History of Art at the University of Warwick. Umberto Eco was an Italian semiotician, philosopher, literary critic, and novelist. He is the author of The Name of the Rose, Foucault's Pendulum, and The Prague Cemetery, all bestsellers in many languages, as well as a number of influential scholarly works. Jean-Luc Nancy is a French philosopher and the Georg Wilhelm Friedrich Hegel Chair and Professor of Philosophy at the European Graduate School. Felix Guattari (1930-1992), post-'68 French psychoanalyst and philosopher, is the author of Anti-Oedipus (with Gilles Deleuze), and a number of books published by Semiotext(e), including The Anti-Oedipus Papers, Chaosophy, and Soft Subversions. Writer, filmmaker, and cultural revolutionary, Guy Debord (1931-1994) was a founding member of the Lettrist International and Situationist International groups. His films and books, including Society of the Spectacle (1967), were major catalysts for philosophical and political changes in the twentieth century, and helped trigger the May 1968 rebellion in France. Eda Cufer, one of the founding members of NSK, is a dramaturge, curator, and writer and the cofounder of Scipion Nasice Sisters Theater. Thomas Hirschhorn (b. 1957) is a Swiss artist known for large sculptures and ambitious projects, often constructed of everyday, makeshift materials. Nicolas Bourriaud was the co-director of the Palais de Tokyo in Paris and an art advisor for the Victor Pinchuk foundation in Kiev. His previous books include L' re tertiaire, Esthetique relationnelle, and Formes de vie. Lars Bang Larsen is an art historian and curator. He is coeditor of several volumes published by Sternberg Press, including Fundamentalisms of the New Order and The Phantom of Liberty. Molly Nesbit teaches at Vassar College. She is a contributing editor at Artforum and is the author of Atget's Seven Albums and Their Common Sense. Hal Foster is Townsend Martin '17 Professor of Art and Archaeology at Princeton University and the author of Prosthetic Gods (MIT Press) and other books.

Reviews

"A rigorous introduction to debates on the relations between art and society, community and collective agency, from the rise of socially based art in the 1960s to the present... What is an authentic concept of contemporary democracy, and how can art address it? What is the social value of participatory authorship, and what are the aesthetic limits of the social turn in art? These are crucial questions today, and this is an inexhaustible resource for those who want to answer them." Viktor Misiano , Curator and Chief Editor of Moscow Art Magazine "Claire Bishop has distilled an opinionated treasury of analytical writings, empirical narration, and curatorial criticism. Her editorial enterprise results in a volume that lays out key concepts intrinsic to recent participatory art practices and illuminates a cross-section of social dynamics such practices activate and express." Julie Ault , artist, co-founder of Group Material "The current focus on relational aesthetics seems to have been largely detrimental to a more complex, nuanced and art-historically informed discussion on participatory practices. Claire Bishop's thoughtful anthology will hopefully begin to remedy this situation. Her book provides the theoretical and historical tools that are essential to perform a closer reading of participatory practices, current and past. Precisely organized and carefully selected, this anthology will surely be consulted widely, both by professionals and students. To its usefulness and clarity, Bishop's book adds a concern for a geographically expanded field of inquiry, so that her version of history is gladly one that does not disregard the evidence -- as much recent writing unfortunately still does -- when it comes from outside the well-trodden paths of the Western canon." ---Carlos Basualdo , Curator of Contemporary Art, Philadelphia Museum of Art

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