Claire Bishop

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Claire Bishop (1971, London) is an art historian, critic and author. She is visiting professor for Curating Contemporary Art at the Royal College of Art, London, and since 2008 associate professor in the PhD Program for Art History at the CUNY Graduate Center, New York. In addition to numerous articles in art journals, her publications include Installation Art: A Critical History (Tate/Routledge, 2005), Participation (Whitechapel/MIT Press, 2006) and Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012). In her current book Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention (TDR, 2018), Bishop explores the impact of changing digital technologies on contemporary art and performance. (2019)

Publications[edit]

Books[edit]

  • editor, Participation, London: Whitechapel, and MIT Press, 2006, 207 pp.
  • editor, with Silvia Tramontana, Double Agent, London: Institute of Contemporary Arts, 2008, 138 pp. Catalogue. [2]
  • Artificial Hells: Participatory Art and the Politics of Spectatorship, London: Verso, 2012, 390 pp.
    • Umetni pekli: participatorna umetnost in politika gledalstva, trans. Aleksandra Rekar, afterw. Bojana Piškur, Ljubljana: Maska, 2012, 359 pp. (Slovenian)
    • "Partycypacja i spektakl", trans. Piotr Juskowiak, Kultura Współczesna 2, 2013, pp 26-36. Trans. of Conclusion. (Polish)
    • "Teatralizując życie", trans. Jacek Staniszewski, Dialog 59:11, 2014, pp 18-36. Trans. of excerpt. (Polish)
    • Sztuczne piekła: sztuka partycypacyjna i polityka widowni, trans. Jacek Staniszewski, Warsaw: Fundacja Bęc Zmiana, 2015, 497 pp. [3] (Polish)
    • Inferni artificiali: la politica della spettatorialità nell'arte partecipativa, trans. Cecilia Guida, Rome: Sossella, 2015, 308 pp. (Italian)
    • Ren zao di yu: Can yu shi yi shu yu guan kan zhe zheng zhi xue [人造地狱: 参与式艺术与观看者政治学], trans. Hongtao Lin, Taibei: Dian zang yi shu jia ting gu fen you xian gong si, 2015. (Chinese)
    • Infiernos artificiales: arte participativo y políticas de la espectaduría, trans. Israel Galina Vaca, Ciudad de México: Taller de Ediciones Económicas, 2016, 461 pp. Excerpt. [4] (Spanish)
    • Jinkō jigoku: gendai āto to kankyaku no seijigaku [人工地獄: 現代アートと観客の政治学], trans. Toshikatsu Ōmori, Tokyo: Firumuātosha, 2016, 535 pp. (Japanese)
    • Iskusstvennyy ad. Partitsipatornoye iskusstvo i politika zritelstva [Искусственный ад. Партиципаторное искусство и политика зрительства], Moscow: V-A-C press, 2018, 528 pp. [5] (Russian)
    • Yapay cehennemler: katılımcı sanat ve izleyici politikası, trans. Mine Haydaroğlu, Istanbul: Koç Üniversitesi, 2018, 394 pp. (Turkish)
  • Radical Museology, or, What's Contemporary in Museums of Contemporary Art?, London: Koenig Books, 2013, 79 pp. [6]
    • Radikalnaya muzeologiya, ili Tak li uzh “sovremenny“ muzei sovremennogo iskusstva? [Радикальная музеология, или Так ли уж “современны“ музеи современного искусства?], trans. Olga Dubitskaya (льга Дубицкая), Moscow: Ad Marginem, 2014, 96 pp. Review: Pluzhnik (Sotsiologiya vlasti). (Russian)
    • Muzeologia radicală sau: ce anume e "contemporan" în muzeele de artă contemporană, trans. Raluca Voinea, Cluj: Idea Design & Print, 2015, 87 pp. (Romanian)
    • 래디컬 뮤지엄 : 동시대 미술관에서 무엇이 '동시대적'인가, trans. 구정연 외, Seoul: 현실문화, 2016. (Korean)
    • Museologia radicale, ovvero, Cos'è "contemporaneo" nei musei di arte contemporanea?, trans. Nicoletta Poo, Milan: Johan & Levi, 2017, 86 pp. (Italian)
    • Museología radical: o, ¿qué es "contemporáneo" en los museos de arte contemporáneo?, trans. Araceli Alemán, Buenos Aires: Libretto, 2018, 126 pp. (Spanish)
    • Radikális muzeológia, avagy mi a "kortárs" a kortárs művészeti múzeumokban?, trans. Sárai Vanda, Budapest: Magyar Nemzeti Múzeum, 2018, 80 pp. (Hungarian)
  • Tania Bruguera in Conversation with / en Conversacion con Claire Bishop, eds. Donna Wingate and Ileen Kohn, New York/Caracas: Cisneros, 2020, 296 pp. [7] (English)/(Spanish)

Essays[edit]

  • "Installation Art and Its Legacy" / "El arte de la instalación i su legado", in Instalaciones y nuevos medios en la colección del IVAM, Valencia: IVAM Institut Valencià d’Art Modern, 2006, pp 268-271 & 81-89. (English)/(Spanish)
    • "Installation Art and Its Legacy" / "Umetniška instalacija in njena zapuščina", trans. Tanja Passoni, Maska 23(111-112): "Nomenklatura prostora", Ljubljana, Winter 2008, pp 46-53. (English)/(Slovenian)
  • "Zones of Indistinguishability: the Collective Actions Group and Participatory Art", in Empty Zones: Andrei Monastyrski and Collective Actions / Пустые зоны. Андрей Монастырский и Коллективные действия, ed. Boris Groys, London: Black Dog Publishing, 2011. (English)/(Russian)
  • "History Depletes Itself", Artforum, Sep 2015, pp 324-330, n408. A critical review of Danh Vo's exhibitions mothertongue and Slip of the Tongue at the 2015 Venice Biennale. [14]
  • "Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention", TDR: The Drama Review 62:2 (T238), Summer 2018, pp 22-42. "Relocated from the ‘black box’ of experimental theatre to the gallery ideal of the ‘white cube,’ dance in the museum brings about new forms of performance (the dance exhibition) and new protocols of audience behaviour (in which smartphone photography is permitted, even encouraged). This is the ‘grey zone’ of recent performance, which is both a symptom of, and compensation for, the virtual character of contemporary attention." [15]
  • "Palace in Plunderland", Artforum, Sep 2018, pp 93-97, n316. "A grumpy take-down of NY"s new performance venue The Shed, in Hudson Yards." [16]

Interviews[edit]

Links[edit]