Difference between revisions of "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. [http://kunsthallewien.at/#/en/events/political-futures-claire-bishop (2019)]
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'''Claire Bishop''' (1971, London) is an art historian, critic and author. She is professor of art history at the Graduate Center of the City University 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), ''Artificial Hells: Participatory Art and the Politics of Spectatorship'' (Verso, 2012), and ''Tania Bruguera in Conversation'' (Cisneros, 2020).
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She is interested in (and teaches courses on) a wide range of things that fall under the rubric of art and politics. She has also taught exhibition history; museums of contemporary art; performance and dance; histories of art education; methods of art history; attention and technology.
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Claire Bishop studied at University of Cambridge (BA 1994) and University of Essex (MA 1996, PhD 2002). In the UK she worked at the Royal College of Art (2001–2006) and Warwick University (2006–2008) before moving to CUNY Graduate Center in 2008. [https://gc-cuny.academia.edu/ClaireBishop (2022)]
  
 
==Publications==
 
==Publications==
 
===Books===
 
===Books===
 +
 
* ''[http://library.memoryoftheworld.org/#/book/2e815ad0-cc8f-499a-a80b-da77117f9f92 Installation Art: A Critical History]'', London: Tate, and Routledge, 2005, 144 pp. [http://www.acastronovo.com/ClassHtms/ClassDocs/Bishop001.pdf Excerpt]. [https://monoskop.org/log/?p=5332]
 
* ''[http://library.memoryoftheworld.org/#/book/2e815ad0-cc8f-499a-a80b-da77117f9f92 Installation Art: A Critical History]'', London: Tate, and Routledge, 2005, 144 pp. [http://www.acastronovo.com/ClassHtms/ClassDocs/Bishop001.pdf Excerpt]. [https://monoskop.org/log/?p=5332]
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** ''Zhuang zhi yi shu: Yi bu pi ping shi'' [装置艺术: 一部批评史], Hangzhou: Zhong guo mei shu xue yuan chu ban she, 2021, 152 pp. {{cn}}
  
 
* editor, ''[https://monoskop.org/log/?p=2405 Participation]'', London: Whitechapel, and MIT Press, 2006, 207 pp.
 
* editor, ''[https://monoskop.org/log/?p=2405 Participation]'', London: Whitechapel, and MIT Press, 2006, 207 pp.
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* editor, with Marta Dziewańska, ''[https://monoskop.org/log/?p=14379 1968/1989: Political Upheaval and Artistic Change / Momenty zwrotne w polityce i sztuce]'', Warsaw: Museum of Modern Art, 2010, 504 pp. {{en}}/{{pl}}
 
* editor, with Marta Dziewańska, ''[https://monoskop.org/log/?p=14379 1968/1989: Political Upheaval and Artistic Change / Momenty zwrotne w polityce i sztuce]'', Warsaw: Museum of Modern Art, 2010, 504 pp. {{en}}/{{pl}}
  
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* ''[https://monoskop.org/log/?p=4791 Artificial Hells: Participatory Art and the Politics of Spectatorship]'', London: Verso, 2012, 390 pp.
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*{{a|Bishop2012}}''[https://monoskop.org/log/?p=4791 Artificial Hells: Participatory Art and the Politics of Spectatorship]'', London: Verso, 2012, 390 pp.
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** ''Umetni pekli: participatorna umetnost in politika gledalstva'', trans. Aleksandra Rekar, afterw. Bojana Piškur, Ljubljana: Maska, 2012, 359 pp. {{sl}}
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** ''Umetni pekli: participatorna umetnost in politika gledalstva'', trans. Aleksandra Rekar, afterw. Bojana Piškur, Ljubljana: Maska, 2012, 359 pp. [https://maska.si/knjiga/transformacije/claire-bishop-umetni-pekli-participatorna-umetnost-in-politika-gledalstva/] {{sl}}
 
** [[Media:Bishop_Claire_2012_2013_Partycypacja_i_spektakl.pdf|"Partycypacja i spektakl"]], trans. Piotr Juskowiak, ''Kultura Współczesna'' 2, 2013, pp 26-36. Trans. of Conclusion. {{pl}}
 
** [[Media:Bishop_Claire_2012_2013_Partycypacja_i_spektakl.pdf|"Partycypacja i spektakl"]], trans. Piotr Juskowiak, ''Kultura Współczesna'' 2, 2013, pp 26-36. Trans. of Conclusion. {{pl}}
 
** "Teatralizując życie", trans. Jacek Staniszewski, ''Dialog'' 59:11, 2014, pp 18-36. Trans. of excerpt. {{pl}}
 
** "Teatralizując życie", trans. Jacek Staniszewski, ''Dialog'' 59:11, 2014, pp 18-36. Trans. of excerpt. {{pl}}
 
** ''Sztuczne piekła: sztuka partycypacyjna i polityka widowni'', trans. Jacek Staniszewski, Warsaw: Fundacja Bęc Zmiana, 2015, 497 pp. [https://beczmiana.pl/sztuczne-piekla/] {{pl}}
 
** ''Sztuczne piekła: sztuka partycypacyjna i polityka widowni'', trans. Jacek Staniszewski, Warsaw: Fundacja Bęc Zmiana, 2015, 497 pp. [https://beczmiana.pl/sztuczne-piekla/] {{pl}}
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** ''Inferni artificiali: la politica della spettatorialità nell'arte partecipativa'', trans. Cecilia Guida, Rome: Sossella, 2015, 308 pp. {{it}}
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** ''Inferni artificiali: la politica della spettatorialità nell'arte partecipativa'', trans. Cecilia Guida, Rome: Sossella, 2015, 308 pp. Review: [https://www.torrossa.com/en/resources/an/4329222 Paolucci] (Agalma). {{it}}
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** ''[http://gen.lib.rus.ec/book/index.php?md5=FE2B05FC24F5E6BD8183A3B27672B76D 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. {{cn}}
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** ''[http://libgen.rs/book/index.php?md5=FE2B05FC24F5E6BD8183A3B27672B76D 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, Taipei: Dian zang yi shu jia ting gu fen you xian gong si, 2015, [https://1lib.cz/book/5304590/f05d88 PDF]. {{cn}}
 
** ''Infiernos artificiales: arte participativo y políticas de la espectaduría'', trans. Israel Galina Vaca, Ciudad de México: Taller de Ediciones Económicas, 2016, 461 pp. [http://t-e-e.org/files/t-e-eoria-2014/Bishop%20-%20Infiernos%20artificiales%20(fragmento%20capitulo%209).pdf Excerpt]. [http://www.t-e-e.org/index.php/tee-o-r-i-a/] {{es}}
 
** ''Infiernos artificiales: arte participativo y políticas de la espectaduría'', trans. Israel Galina Vaca, Ciudad de México: Taller de Ediciones Económicas, 2016, 461 pp. [http://t-e-e.org/files/t-e-eoria-2014/Bishop%20-%20Infiernos%20artificiales%20(fragmento%20capitulo%209).pdf Excerpt]. [http://www.t-e-e.org/index.php/tee-o-r-i-a/] {{es}}
 
** ''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. {{jp}}
 
** ''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. {{jp}}
 
** ''Iskusstvennyy ad. Partitsipatornoye iskusstvo i politika zritelstva'' [Искусственный ад. Партиципаторное искусство и политика зрительства], Moscow: V-A-C press, 2018, 528 pp. [http://www.v-a-c.ru/ru/press/claire-bishop/] {{ru}}
 
** ''Iskusstvennyy ad. Partitsipatornoye iskusstvo i politika zritelstva'' [Искусственный ад. Партиципаторное искусство и политика зрительства], Moscow: V-A-C press, 2018, 528 pp. [http://www.v-a-c.ru/ru/press/claire-bishop/] {{ru}}
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** ''Yapay cehennemler: katılımcı sanat ve izleyici politikası'', trans. Mine Haydaroğlu, Istanbul: Koç Üniversitesi, 2018, 394 pp. {{tr}}
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** ''Yapay cehennemler: katılımcı sanat ve izleyici politikası'', trans. Mine Haydaroğlu, Istanbul: Koç Üniversitesi, 2018, 394 pp. [https://www.kitapyurdu.com/kitap/yapay-cehennemler-amp-katilimci-sanat-ve-izleyici-politikasi/456170.html] {{tr}}
  
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* ''[https://monoskop.org/log/?p=15765 Radical Museology, or, What's Contemporary in Museums of Contemporary Art?]'', London: Koenig Books, 2013, 79 pp. [http://academia.edu/4874576]
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* ''[https://monoskop.org/log/?p=15765 Radical Museology, or, What's Contemporary in Museums of Contemporary Art?]'', London: Koenig Books, 2013, 79 pp; 2nd ed., rev., 2014, 79 pp. [http://academia.edu/4874576]
 
** ''[[Media:Bishop_Kler_Radikalnaya_muzeologiya_2014.pdf|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: [https://www.academia.edu/31226908/ Pluzhnik] (Sotsiologiya vlasti). {{ru}}
 
** ''[[Media:Bishop_Kler_Radikalnaya_muzeologiya_2014.pdf|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: [https://www.academia.edu/31226908/ Pluzhnik] (Sotsiologiya vlasti). {{ru}}
 
** ''Muzeologia radicală sau: ce anume e "contemporan" în muzeele de artă contemporană'', trans. Raluca Voinea, Cluj: Idea Design & Print, 2015, 87 pp. {{ro}}
 
** ''Muzeologia radicală sau: ce anume e "contemporan" în muzeele de artă contemporană'', trans. Raluca Voinea, Cluj: Idea Design & Print, 2015, 87 pp. {{ro}}
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** ''Museologia radicale, ovvero, Cos'è "contemporaneo" nei musei di arte contemporanea?'', trans. Nicoletta Poo, Milan: Johan & Levi, 2017, 86 pp. {{it}}  
 
** ''Museologia radicale, ovvero, Cos'è "contemporaneo" nei musei di arte contemporanea?'', trans. Nicoletta Poo, Milan: Johan & Levi, 2017, 86 pp. {{it}}  
 
** ''Museología radical: o, ¿qué es "contemporáneo" en los museos de arte contemporáneo?'', trans. Araceli Alemán, Buenos Aires: Libretto, 2018, 126 pp. {{es}}
 
** ''Museología radical: o, ¿qué es "contemporáneo" en los museos de arte contemporáneo?'', trans. Araceli Alemán, Buenos Aires: Libretto, 2018, 126 pp. {{es}}
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** ''Radikális muzeológia, avagy mi a "kortárs" a kortárs művészeti múzeumokban?'', trans. Sárai Vanda, Budapest: Magyar Nemzeti Múzeum, 2018, 80 pp. {{hu}}
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** ''Radikális muzeológia, avagy mi a "kortárs" a kortárs művészeti múzeumokban?'', trans. Sárai Vanda, Budapest: Magyar Nemzeti Múzeum, 2018, 80 pp. [https://mnm.hu/hu/publication-issue/radikalis-muzeologia-avagy-mi-kortars-kortars-muveszeti-muzeumokban Publisher]. {{hu}}
 
** 激進美術館學: 當代美術館的當代性, trans. Wang Shengzhi (王聖智), 一行出版, 2019, 76 pp. {{cn}}
 
** 激進美術館學: 當代美術館的當代性, trans. Wang Shengzhi (王聖智), 一行出版, 2019, 76 pp. {{cn}}
 
** ''Radikaru myuzeorojī: tsumari, gendai bijutsukan no "gendai" tte nani?'' [ラディカル・ミュゼオロジー: つまり、現代美術館の「現代」ってなに?], trans. Daisuke Murata, Chōfu: Getsuyōsha, 2020, 129 pp. {{jp}}
 
** ''Radikaru myuzeorojī: tsumari, gendai bijutsukan no "gendai" tte nani?'' [ラディカル・ミュゼオロジー: つまり、現代美術館の「現代」ってなに?], trans. Daisuke Murata, Chōfu: Getsuyōsha, 2020, 129 pp. {{jp}}
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** ''Vers un musée radical: réflexions pour une nouvelle muséologie'', pref. Daniel Jacobi, trans. Michaël Bourgatte, Paris: MKF, 2021, 91 pp. Review: [https://doi.org/10.4000/questionsdecommunication.27583 Gryspeerdt] (Q de communication). {{fr}}
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* ''Tania Bruguera in Conversation with / en Conversacion con Claire Bishop'', eds. Donna Wingate and Ileen Kohn, New York/Caracas: Cisneros, 2020, 296 pp. [https://www.academia.edu/44755969/ Chapter 2]. [https://www.coleccioncisneros.org/editorial/news/blurring-lines-between-art-and-activism] [https://www.artbook.com/9780984017393.html] {{en}}/{{es}}
  
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* ''Tania Bruguera in Conversation with / en Conversacion con Claire Bishop'', eds. Donna Wingate and Ileen Kohn, New York/Caracas: Cisneros, 2020, 296 pp. [https://www.coleccioncisneros.org/editorial/news/blurring-lines-between-art-and-activism] [https://www.artbook.com/9780984017393.html] {{en}}/{{es}}
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* ''Disordered Attention: How We Look at Art and Performance Today'', London: Verso, forthcoming Jun 2024, 288 pp. Four essays about changing patterns of attention in contemporary art and performance since the early 1990s, incl. "Research-Based Art: Information Overload," "Performance Exhibitions: Black Box, White Cube, Gray Zone," "Interventions: Seizing The Moment," and "Appropriation as Invocation: Contemporary Art Quotes Modernist Architecture." [https://www.versobooks.com/en-gb/products/2942-disordered-attention Publisher].
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* ''Merce Cunningham's Events: Key Concepts'', Koenig Books, forthcoming.
  
 
===Essays===
 
===Essays===
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* [[Media:Bishop_Claire_2004_Antagonism_and_Relational_Aesthetics.pdf|"Antagonism and Relational Aesthetics"]], ''October'' 110, Fall 2004, pp 51-79.  
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*{{a|Bishop2004}}[[Media:Bishop_Claire_2004_Antagonism_and_Relational_Aesthetics.pdf|"Antagonism and Relational Aesthetics"]], ''October'' 110, Fall 2004, pp 51-79.  
 
** [http://idea.ro/revista/ro/article/XMnLNCsAADoA1bqu/antagonism-si-estetica-relationala "Antagonism și estetică relațională"], trans. Alex Moldovan and Adrian T. Sîrbu, ''IDEA'' 19, Cluj, 2004, pp 10-25, [https://s3.eu-central-1.amazonaws.com/idea-revista/pdf/IDEA-%2319.pdf#page=7 PDF]. {{ro}}
 
** [http://idea.ro/revista/ro/article/XMnLNCsAADoA1bqu/antagonism-si-estetica-relationala "Antagonism și estetică relațională"], trans. Alex Moldovan and Adrian T. Sîrbu, ''IDEA'' 19, Cluj, 2004, pp 10-25, [https://s3.eu-central-1.amazonaws.com/idea-revista/pdf/IDEA-%2319.pdf#page=7 PDF]. {{ro}}
 
** [https://www.academia.edu/39539250/ "Antagonismo e estética relacional"], trans. Milena Durante, ''Tatuí'', 2011. {{pt}}
 
** [https://www.academia.edu/39539250/ "Antagonismo e estética relacional"], trans. Milena Durante, ''Tatuí'', 2011. {{pt}}
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* [[Media:Bishop_Claire_2018_Black_Box_White_Cube_Gray_Zone_Dance_Exhibitions_and_Audience_Attention.pdf|"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." [https://www.academia.edu/38135170/]
 
* [[Media:Bishop_Claire_2018_Black_Box_White_Cube_Gray_Zone_Dance_Exhibitions_and_Audience_Attention.pdf|"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." [https://www.academia.edu/38135170/]
 
** [http://moscowartmagazine.com/issue/64/article/1349 "Chernyy yashchik, belyy kub: pyat'desyat ottenkov serogo?"] [Черный ящик, белый куб: пятьдесят оттенков серого?], ''Художественный журнал: Moscow Art Magazine'' 103, 2017. {{ru}}
 
** [http://moscowartmagazine.com/issue/64/article/1349 "Chernyy yashchik, belyy kub: pyat'desyat ottenkov serogo?"] [Черный ящик, белый куб: пятьдесят оттенков серого?], ''Художественный журнал: Moscow Art Magazine'' 103, 2017. {{ru}}
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** [https://despapiro.unizar.es/ojs/index.php/tropelias/article/view/5056 "La caja negra, el cubo blanco, la zona gris. Las exhibiciones de danza y la atención de la audiencia"], trans. Paulo Antonio Gatica Cote and María Lucía González Castro, ''Tropelias'' 35, Jan 2021, pp 43-69. {{es}}
  
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* [[Media:Bishop_Claire_2018_Palace_in_Plunderland.pdf|"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." [https://www.academia.edu/38809416/]
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* [https://doi.org/10.11588/dah.2018.3.49915 "Against Digital Art History"], ''International Journal for Digital Art History'' 3, Jul 2018, pp 122-131.
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* [[Media:Bishop_Claire_2018_Palace_in_Plunderland.pdf|"Palace in Plunderland: The Shed"]], ''Artforum international'' 57:1, Sep 2018, pp 93-97, n316, [https://www.artforum.com/print/201807/palace-in-plunderland-76327 HTML]. "A grumpy take-down of NY"s new performance venue The Shed, in Hudson Yards." [https://www.academia.edu/38809416/]
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* [https://www.artforum.com/print/201905/claire-bishop-on-the-art-of-political-timing-79512 "Rise to the Occasion: The Art of Political Timing"], ''Artforum international'' 57:9, May 2019, pp 198-204.
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* [https://www.artforum.com/print/201907/venice-2019-80529 "In the Bland Scheme of Things"], ''Artforum international'', Sep 2019. Review of the Venice Biennale 2019.
  
 
* with Nikki Columbus, [https://nplusonemag.com/online-only/paper-monument/free-your-mind/ "Free Your Mind: A Speculative Review of #NewMoMA"], ''Paper Monument'', n+1, 7 Jan 2020.
 
* with Nikki Columbus, [https://nplusonemag.com/online-only/paper-monument/free-your-mind/ "Free Your Mind: A Speculative Review of #NewMoMA"], ''Paper Monument'', n+1, 7 Jan 2020.
  
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==Interviews==
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* [https://www.artforum.com/print/202304/claire-bishop-on-the-superabundance-of-research-based-art-90274 "Information Overload"], ''Artforum'', Apr 2023.
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* [https://www.artforum.com/features/claire-bishop-on-mike-nelsons-_magazin-byk-valide-han_-2003-252744/ "Close-Up: Seek, Memory"], ''Artforum'' 61:10, Summer 2023. On Mike Nelson’s ''MAGAZIN: Büyük Valide Han'', 2003.
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* [https://www.artforum.com/columns/claire-bishop-cultural-whiplash-warsaw-517919/ "Capital Offenses: Cultural Whiplash in Warsaw"], ''Artforum'', Nov 2023, pp 57-58, [[Media:Bishop Claire 2023 Capital Offenses Warsaw.pdf|PDF]].
 +
 
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==Interviews, conversations==
 
* Dušan Barok, [[Media:Barok_Dusan_2009_On_Participatory_Art_Interview_with_Claire_Bishop.pdf|"On Participatory Art. Interview with Claire Bishop"]], 2009.  
 
* Dušan Barok, [[Media:Barok_Dusan_2009_On_Participatory_Art_Interview_with_Claire_Bishop.pdf|"On Participatory Art. Interview with Claire Bishop"]], 2009.  
 
** [http://www.advojka.cz/archiv/2009/21/umelci-jako-socialni-pracovnici "Umělci jako sociální pracovníci. S teoretičkou umění Claire Bishopovou"], trans. Lenka Dolanová, ''A2'' 21, Prague, 2009. Abridged version. {{cz}}
 
** [http://www.advojka.cz/archiv/2009/21/umelci-jako-socialni-pracovnici "Umělci jako sociální pracovníci. S teoretičkou umění Claire Bishopovou"], trans. Lenka Dolanová, ''A2'' 21, Prague, 2009. Abridged version. {{cz}}
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* Marisa Hayes, "Recherche sur la danse au musée. Entretien avec Claire Bishop", ''Repères, cahier de danse'' 38-39, 2017, pp 38a-41a. [https://www.cairn.info/revue-reperes-cahier-de-danse-2017-1-page-38a.htm?try_download=1] {{fr}}
 
* Marisa Hayes, "Recherche sur la danse au musée. Entretien avec Claire Bishop", ''Repères, cahier de danse'' 38-39, 2017, pp 38a-41a. [https://www.cairn.info/revue-reperes-cahier-de-danse-2017-1-page-38a.htm?try_download=1] {{fr}}
 
* Ines Kleesattel, "Über ExpertInnen, Kollaborationen und kunstbezogene Multiperspektivität: ein Gespräch mit Claire Bishop", in ''The Future Is Unwritten'', eds. Ines Kleesattel and Pablo Müller, Zürich: Diaphanes, 2018, pp 193-208. [https://www.diaphanes.net/artikel/ueber-expertinnen-kollaborationen-und-kunstbezogene-multiperspektivitaet-5849] {{de}}
 
* Ines Kleesattel, "Über ExpertInnen, Kollaborationen und kunstbezogene Multiperspektivität: ein Gespräch mit Claire Bishop", in ''The Future Is Unwritten'', eds. Ines Kleesattel and Pablo Müller, Zürich: Diaphanes, 2018, pp 193-208. [https://www.diaphanes.net/artikel/ueber-expertinnen-kollaborationen-und-kunstbezogene-multiperspektivitaet-5849] {{de}}
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* with Johanna Drucker, [https://dhdebates.gc.cuny.edu/read/untitled-f2acf72c-a469-49d8-be35-67f9ac1e3a60/section/3aedfd2c-280f-4029-b3f1-3e9a11794c01 "A Conversation on Digital Art History"], in ''Debates in the Digital Humanities'', eds. Matthew K. Gold and Lauren F. Klein, Minnesota University Press, 2019.
 +
* [[Media:Liclair Christian et al 2023 Under Review.pdf|"Under Review. Roundtable between Claire Bishop, Jarrett Earnest, Eva Hayward, and Eric Otieno Sumba, moderated by Christian Liclair"]], ''Texte zur Kunst'', Sep 2023, pp 30-69. [https://www.academia.edu/106389592/] {{en}}/{{de}}
  
 
==Links==
 
==Links==
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* [http://clairebishopresearch.blogspot.com Personal website]
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* [http://clairebishopresearch.blogspot.com Website]
 
* [http://gc-cuny.academia.edu/ClaireBishop Academia.edu]
 
* [http://gc-cuny.academia.edu/ClaireBishop Academia.edu]
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* [https://www.gc.cuny.edu/Faculty/Core-Bios/Claire-Bishop Profile on The Graduate Center CUNY]
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* [https://www.gc.cuny.edu/Faculty/Core-Bios/Claire-Bishop Profile on CUNY Graduate Center]
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* [https://academicworks.cuny.edu/do/search/?q=author_lname%3A%22Bishop%22%20author_fname%3A%22Claire%22&start=0&context=5800691&facet= Publications on GC CUNY]
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* [https://academicworks.cuny.edu/do/search/?q=author_lname%3A%22Bishop%22%20author_fname%3A%22Claire%22&start=0&context=5800691&facet= Publications on CUNY GC]
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Revision as of 09:37, 20 February 2024

Claire Bishop (1971, London) is an art historian, critic and author. She is professor of art history at the Graduate Center of the City University 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), Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012), and Tania Bruguera in Conversation (Cisneros, 2020).

She is interested in (and teaches courses on) a wide range of things that fall under the rubric of art and politics. She has also taught exhibition history; museums of contemporary art; performance and dance; histories of art education; methods of art history; attention and technology.

Claire Bishop studied at University of Cambridge (BA 1994) and University of Essex (MA 1996, PhD 2002). In the UK she worked at the Royal College of Art (2001–2006) and Warwick University (2006–2008) before moving to CUNY Graduate Center in 2008. (2022)

Publications

Books

  • Installation Art: A Critical History, London: Tate, and Routledge, 2005, 144 pp. Excerpt. [1]
    • Zhuang zhi yi shu: Yi bu pi ping shi [装置艺术: 一部批评史], Hangzhou: Zhong guo mei shu xue yuan chu ban she, 2021, 152 pp. (Chinese)
  • 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. [3] (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. [4] (Polish)
    • Inferni artificiali: la politica della spettatorialità nell'arte partecipativa, trans. Cecilia Guida, Rome: Sossella, 2015, 308 pp. Review: Paolucci (Agalma). (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, Taipei: Dian zang yi shu jia ting gu fen you xian gong si, 2015, PDF. (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. [5] (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. [6] (Russian)
    • Yapay cehennemler: katılımcı sanat ve izleyici politikası, trans. Mine Haydaroğlu, Istanbul: Koç Üniversitesi, 2018, 394 pp. [7] (Turkish)
  • Radical Museology, or, What's Contemporary in Museums of Contemporary Art?, London: Koenig Books, 2013, 79 pp; 2nd ed., rev., 2014, 79 pp. [8]
    • 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. Publisher. (Hungarian)
    • 激進美術館學: 當代美術館的當代性, trans. Wang Shengzhi (王聖智), 一行出版, 2019, 76 pp. (Chinese)
    • Radikaru myuzeorojī: tsumari, gendai bijutsukan no "gendai" tte nani? [ラディカル・ミュゼオロジー: つまり、現代美術館の「現代」ってなに?], trans. Daisuke Murata, Chōfu: Getsuyōsha, 2020, 129 pp. (Japanese)
    • Vers un musée radical: réflexions pour une nouvelle muséologie, pref. Daniel Jacobi, trans. Michaël Bourgatte, Paris: MKF, 2021, 91 pp. Review: Gryspeerdt (Q de communication). (French)
  • Tania Bruguera in Conversation with / en Conversacion con Claire Bishop, eds. Donna Wingate and Ileen Kohn, New York/Caracas: Cisneros, 2020, 296 pp. Chapter 2. [9] [10] (English)/(Spanish)
  • Disordered Attention: How We Look at Art and Performance Today, London: Verso, forthcoming Jun 2024, 288 pp. Four essays about changing patterns of attention in contemporary art and performance since the early 1990s, incl. "Research-Based Art: Information Overload," "Performance Exhibitions: Black Box, White Cube, Gray Zone," "Interventions: Seizing The Moment," and "Appropriation as Invocation: Contemporary Art Quotes Modernist Architecture." Publisher.
  • Merce Cunningham's Events: Key Concepts, Koenig Books, forthcoming.

Essays

  • "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. [17]

Interviews, conversations

Links

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