Claire Bishop

Claire Bishop is a British art historian, critic, and Professor of Art History at The Graduate Center, CUNY, New York where she has taught since September 2008.[1] Bishop is known as one of the central theorists of participation in visual art and performance. Her 2004 essay titled “Antagonism and Relational Aesthetics,” which was published in October, remains an influential critique of relational aesthetics.[2] Bishop's books have been translated into over eighteen languages and she is a frequent contributor to art journals including Artforum and October.

For the children's writer and librarian, see Claire Huchet Bishop.
Claire Bishop
Born1971 (age 49–50)
NationalityBritish
EducationCambridge University, Essex University
OccupationProfessor of Art History at The Graduate Center, CUNY
Known forHistories and theories of participation art and performance
Notable work
Artificial Hells: Participatory Art and the Politics of Spectatorship (2012); “Antagonism and Relational Aesthetics" (2004)

Early life and education

Bishop grew up on the Welsh border and attended Welshpool High School. She received a B.A. in art history from St John's College, Cambridge in 1994 and completed her MA and Ph.D in art history and theory at Essex University in 1996 and 2002 respectively. Bishop was a tutor in critical theory in the Curating Contemporary Art department at the Royal College of Art, London from 2001 to 2006, before becoming an associate professor in the department of Art History at the University of Warwick, Coventry from 2006 to 2008.[3]

Career

Bishop's book Artificial Hells: Participatory Art and the Politics of Spectatorship (2012) is the first historical and theoretical overview of socially engaged participatory art, best known in the U.S. as "social practice." In it, 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 1970 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.[4] Artificial Hells: Participatory Art and the Politics of Spectatorship was reviewed in a wide range of publications including Art in America,[5] Art Journal,[6] CAA Reviews (College Art Association),[7] Art Review,[8] Art Monthly,[9] and TDR: The Drama Review.[10] In 2013, Artificial Hells won the Frank Jewett Mather Prize for art criticism and the ASAP book prize.

Bishop is also the author of the short book Radical Museology, or, What's Contemporary in Museums of Contemporary Art? (2013), with drawings by Dan Perjovschi, which has been translated into Romanian, Russian, Korean, Spanish, and Italian.

Her current research looks at contemporary art and performance as a way to understand the changing impact of digital technology upon attention. Part of this research was published as 'Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention' TDR, Summer 2018.

Selected publications

Books
  • Installation Art: A Critical History. London: Tate, 2005. (ISBN 9780415974127)
  • Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012. (ISBN 9781844676903)
  • Radical Museology, or, What's Contemporary in Museums of Contemporary Art? London: Koenig Books, 2013 (ISBN 9783863353643)

Edited Volumes
  • Participation. London: Whitechapel/MIT Press, 2006. (ISBN 9780415974127)
  • 1968-1989: Political Upheaval and Artistic Change. Co-edited with Marta Dziewanska. Warsaw: Museum of Modern Art, 2010. (ISBN 9788392404408)
  • Double Agent. London: ICA, 2009.(ISBN 9781900300582)

Papers
  • 'History Depletes Itself' Claire Bishop on Danh Vo at The Danish Pavilion and Punta Della Dogana at the Venice Biennale 2015, Artforum, September 2015
  • 'The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney', Dance Research Journal, Vol. 46, No. 3, December 2014
  • 'Reconstruction Era: The Anachronic Time(s) of Installation Art', When Attitudes Become Form: Bern 1969/Venice 2013, Progetto Prada Arte, Milan 2013.
  • 'The Digital Divide: Contemporary Art and New Media', Artforum, September 2012.
  • 'Delegated Performance: Outsourcing Authenticity', October, no. 140, Spring 2012.
  • 'The Social Turn: Collaboration and Its Discontents', Artforum, February 2006.
  • 'Antagonism and Relational Aesthetics', October, No.110, Fall 2004.

References
  1. "'Ruin lust' dominates contemporary art, says US author and academic Claire Bishop". The Sydney Morning Herald. Retrieved 25 March 2015.
  2. "Former West Conference Bio".
  3. https://formerwest.org/Team/ClaireBishop
  4. Bishop, Claire (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso. pp. back cover. ISBN 978-1-84467-690-3.
  5. Heartney, Eleanor (June 2012). "Can Art Change Lives?". Art in America. 100 (6): 67.
  6. Charnley, Kim (Summer 2014). "Criticism and Cooperation". Art Journal. 73 (2): 116–118. doi:10.1080/00043249.2014.949523. S2CID 193159638.
  7. Widrich, Mechtild (August 12, 2013). "Artificial Hells: Participatory Art and the Politics of Spectatorship". CAA Reviews (College Art Association): 1–3.
  8. Charlesworth, J.J. (October 2012). "Artificial Hells Participatory Art and the Politics Spectatorship". Art Review (62): 142.
  9. Quaintance, Morgan (September 2012). "Artificial Hells". Art Monthly (359): 37.
  10. Watt, Kenn (2014). "Artificial Hells: Participatory Art and the Politics of Spectatorship by Claire Bishop (review)". TDR: The Drama Review. 58 (1): 181–183. doi:10.1162/dram_r_00340. S2CID 57562771.
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