Participation

Whitechapel: Documents of Contemporary Art

by Claire Bishop (Editor)

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. The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century art. This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context. Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter Bürger, Jen-Luc Nancy, Edoaurd Glissant, and Félix Guattari, as well as the first translation into English of Jacques Rancière's influential "Problems and Transformations in Critical Art." The book also includes central writings by such artists as Lygia Clark and Hélio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist. Copublished with Whitechapel Art Gallery, London

Genres: Art, Nonfiction, Theory, Research, Art History, Philosophy, Academia

240 pages, Paperback

First published October 1, 2006

Reviews

[Anna Martine · Rating 3 out of 5]

I love theory, which is ridiculous, but I am no longer ashamed. Plus, this has some essays on relational and social aesthetics, art based in real-life versus utopian art, and so forth that might be critical for artists, activists, and those interested in performance.

[Jess · Rating 5 out of 5]

This is one of my favourite catalogues of Art essays, and critical/curatorial theory regarding participatory or relational artwork. Each essay is prefaced by Bishop who explains what she sees as the relevance of the piece to Participation and includes a very short summary. This is useful if you are using the book for particular essay's. The Catalogue is a meaty read on it's own though, however it should not be attempted by someone new to art theory as it is rather dense in places. I especially recommend Glissant and Ranciere's essays.

[Aislinn Evans · Rating 3 out of 5]

the theoretical frameworks were mostly unbearable (glissants text was pretty good) but some of the artist’s writings rocked - i’m glad i now know about adrian piper, and reading debord is always good. he was more understandable this time

[Gabriela Olivera · Rating 5 out of 5]

A super interesting book about different kinds of art movements that involve social happenings, civil integration and art manifestation.

[Rebecca Arp · Rating 3 out of 5]

way too much artist-speak to wade through and discard

[Mitch Tam · Rating 4 out of 5]

Who won’t say No to classic? Great powerful anthologies and I enjoyed the progression between articles. Love reading the full Roland Barthes’ The Death of the Author - many in this anthology tho.

[Jabeeeeeen · Rating 4 out of 5]

Phenomenal essays if you're looking to understand what happens when art is engaged with.

[Alicia · Rating 4 out of 5]

Enjoyed the structure of theory - artist texts - curatorial/critical positions, although I would have enjoyed more from the third category.

[Krista · Rating 5 out of 5]

Loved the first third (classic theory/criticism with some new stuff....all orbiting around participation as an art strategy or process), and Hal Foster's final essay 'Chat Room.' I love Hal Foster!!!! Curator essays were hard to get through for me (lots of description ps of complex artworks & installations).

[Corinna · Rating 4 out of 5]

This is edited by Claire Bishop and contains some of the more influential mid-to late-20th century documents on how viewers, spectators, beholders, etc. are meant to be involved with (mostly) installation, performance, and sculpture.

[Courtney · Rating 4 out of 5]

this is a good, basic primer about contemporary western art and participation. read in one hand with Relational Aesthetics in the other and watch the sparks fly! oh, and be prepared with nice pen and post-it flags; if you love a post-it, you're a friend of mine.

[Kate · Rating 3 out of 5]

a bit slow to begin with Umberto Eco, but i think he's importnant so i read his whole thing. now on to Barthes. i'll let you know when i get to the inspirational part that turns my head around. but at present still waiting.

[Sharon Mizota · Rating 3 out of 5]

Only partially read this selection of essays on interactivity in art. It does have some useful historical pieces like Umberto Eco's essay from the 60s on the "open work of art" which presages "relational aesthetics" and Barthes "death of the author."

[M]

nice book

[Katie]

i think i'm going to really like this one. i'm just too damned busy to be in the mood at the moment.

[Brian · Rating 4 out of 5]

rigorous and thought-provoking collection of theoretical, critical, and artist writings. I read it to warm up for studio time and it always gets ideas flowing.

[Aaron Berger]

Claire Bishop only assembled these essays to make her point. I was hoping for more of her writing.

[Mills College Library]

700.1 P2734 2006

[Dayna]

This is a note to self that this is #17 in Bookmarks Directory (originally coming from my Bookmarks Folder)