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===
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* ''Installation Art: A Critical History'', London: Tate, and Routledge, 2005, 144 pp. [https://monoskop.org/log/?p=5332]
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* ''[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]
  
 
* 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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* ''[https://monoskop.org/log/?p=4791 Artificial Hells: Participatory Art and the Politics of Spectatorship]'', London: Verso, 2012, 390 pp.
 
* ''[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}}
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** ''Sztuczne piekła: sztuka partycypacyjna i polityka widowni'', trans. Jacek Staniszewski, Warsaw: Fundacja Nowej Kultury Bęc Zmiana, 2015, 497 pp. {{pl}}
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** "Teatralizując życie", trans. Jacek Staniszewski, ''Dialog'' 59:11, 2014, pp 18-36. Trans. of excerpt. {{pl}}
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** ''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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** ''[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}}
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** ''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}}
 
** ''Yapay cehennemler: katılımcı sanat ve izleyici politikası'', trans. Mine Haydaroğlu, Istanbul: Koç Üniversitesi, 2018, 394 pp. {{tr}}
 
** ''Yapay cehennemler: katılımcı sanat ve izleyici politikası'', trans. Mine Haydaroğlu, Istanbul: Koç Üniversitesi, 2018, 394 pp. {{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]
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** ''[[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}}
 
** 래디컬 뮤지엄 : 동시대 미술관에서 무엇이 '동시대적'인가, trans. 구정연 외, Seoul: 현실문화, 2016. {{ko}}
 
** 래디컬 뮤지엄 : 동시대 미술관에서 무엇이 '동시대적'인가, trans. 구정연 외, Seoul: 현실문화, 2016. {{ko}}
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** ''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}}
 
** ''Radikális muzeológia, avagy mi a "kortárs" a kortárs művészeti múzeumokban?'', trans. Sárai Vanda, Budapest: Magyar Nemzeti Múzeum, 2018, 80 pp. {{hu}}
 
** ''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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** 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}}
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** ''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. {{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. {{en}}/{{es}}
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* ''[https://1lib.cz/book/18255870/69b8c7 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}}
  
 
===Essays===
 
===Essays===
 
* [[Media:Bishop_Claire_2004_Antagonism_and_Relational_Aesthetics.pdf|"Antagonism and Relational Aesthetics"]], ''October'' 110, Fall 2004, pp 51-79.  
 
* [[Media:Bishop_Claire_2004_Antagonism_and_Relational_Aesthetics.pdf|"Antagonism and Relational Aesthetics"]], ''October'' 110, Fall 2004, pp 51-79.  
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** [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}}
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** [https://www.academia.edu/39539250/ "Antagonismo e estética relacional"], trans. Milena Durante, ''Tatuí'', 2011. {{pt}}
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** [https://issuu.com/nirbhe/docs/bishop_antagonismo_y_est_tica_relacional_october "Antagonismo y estética relacional"], trans. Maximiliano Papandrea and Silvina Cucchi, n.d. {{es}}
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* [[Media:Bishop_Claire_2006_The_Social_Turn_Collaboration_and_Its_Discontents.pdf|"The Social Turn: Collaboration and Its Discontents"]], ''Artforum'', Feb 2006, pp 178-183, [[Media:Bishop_Claire_2006_The_Social_Turn_Collaboration_and_Its_Discontents_.pdf|PDF]]; [[Media:Bishop_Claire_2006_2007_The_Social_Turn_Collaboration_and_Its_Discontents.pdf|repr. in]] ''Right About Now: Art & Theory since the 1990s'', eds. Margriet Schavemaker and Mischa Rakier, Amsterdam: Valiz, 2007, pp 58-68.
 
* [[Media:Bishop_Claire_2006_The_Social_Turn_Collaboration_and_Its_Discontents.pdf|"The Social Turn: Collaboration and Its Discontents"]], ''Artforum'', Feb 2006, pp 178-183, [[Media:Bishop_Claire_2006_The_Social_Turn_Collaboration_and_Its_Discontents_.pdf|PDF]]; [[Media:Bishop_Claire_2006_2007_The_Social_Turn_Collaboration_and_Its_Discontents.pdf|repr. in]] ''Right About Now: Art & Theory since the 1990s'', eds. Margriet Schavemaker and Mischa Rakier, Amsterdam: Valiz, 2007, pp 58-68.
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* [[Media:Bishop_Claire_2007_What_Is_a_Curator.pdf|"What Is a Curator?"]], 2007. Paper presented at ''Shifting Practice, Shifting Roles: Artists' Installations and the Museum'', Tate Modern, Mar 2007. [http://clairebishopresearch.blogspot.com/2009/02/what-is-curator.html]
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** [http://moscowartmagazine.com/issue/30/article/509 "Sotsialnyy povorot v sovremennom iskusstve"] [Социальный поворот в современном искусстве], ''Художественный журнал: Moscow Art Magazine'' 58-59, 2005. {{ru}}
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** [[Media:Bishop Claire 2006 2007 Rízeni reality Spoluprace a participace v soucasnem umeni.pdf|"Řízení reality. Spolupráce a participace v současném umění"]], trans. Jana Šelová, ''Sešit pro umění, teorii a příbuzné zóny'' 1:1-2, 2007, pp 8-36. {{cz}}
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** [[Media:Bishop Claire 2006 2007 El giro social la colaboracion y sus descontentos.pdf|"El giro social: (la) colaboración y sus descontentos"]], trans. Fabricio Forastelli, ''Ramona'' 72, Buenos Aires, Jul 2007, pp 29-37. [http://www.ramona.org.ar/node/33093] {{es}}
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** [[Media:Bishop Claire 2006 2009 A virada social colaboracao e seus desgostos.pdf|"A virada social: colaboração e seus desgostos"]], trans. Jason Campelo, ''Concinnitas'' 1:12, 2009, pp 144-155. [https://www.e-publicacoes.uerj.br/index.php/concinnitas/article/view/22825] {{br-pt}}
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** [https://monoskop.org/images/e/e0/Warsza_Joanna_red_Stadion_X_miejsce_ktorego_nie_bylo_Reader_2009.pdf#page=26 "Zwrot społeczny: współpraca jako źródło cierpień"], in ''Stadion X: miejsce, którego nie było. Reader'', ed. Joanna Warsza, Warsaw: Bęc Zmiana, and Kraków: Korporacja ha!art, 2009, pp 46-58. {{pl}}
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* [https://monoskop.org/images/2/2b/Instalaciones_y_nuevos_medios_en_la_coleccion_del_IVAM_2006.pdf#page=272 "Installation Art and Its Legacy"] / [https://monoskop.org/images/2/2b/Instalaciones_y_nuevos_medios_en_la_coleccion_del_IVAM_2006.pdf#page=85 "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. {{en}}/{{es}}
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** "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. {{en}}/{{sl}}
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* [http://idea.ro/revista/en/article/XOgqVhIAACIAfKxj/what-is-a-curator "What Is a Curator?"] / [http://idea.ro/revista/ro/article/XIpUPRAAACYAyy0X/ce-este-un-curator "Ce este un curator?"], trans. Veronica Lazăr, ''IDEA'' 26, Cluj, 2007, pp 12-21, [https://s3.eu-central-1.amazonaws.com/idea-revista/pdf/IDEA-%2326-mic.pdf#page=8 PDF], [[Media:Bishop_Claire_2007_What_Is_a_Curator.pdf|PDF]]. Paper presented at ''Shifting Practice, Shifting Roles: Artists' Installations and the Museum'', Tate Modern, Mar 2007. [http://clairebishopresearch.blogspot.com/2009/02/what-is-curator.html]
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** "Cosa è un curatore?", in ''Vita delle mostre'', eds. Adriano Aymonino and Ines Tolic, Mondadori, 2007, 73-84. {{it}}
 
** [[Media:Bishop_Claire_2007_2011_Que_es_un_curador_El_ascenso_y_caida_del_curador_auteur.pdf|"¿Qué es un curador? El ascenso (¿y caída?) del curador ''auteur''"]], ''Denken Pensée Thought Mysl'' 7, La Habana: Criterios, May 2011. {{es}}
 
** [[Media:Bishop_Claire_2007_2011_Que_es_un_curador_El_ascenso_y_caida_del_curador_auteur.pdf|"¿Qué es un curador? El ascenso (¿y caída?) del curador ''auteur''"]], ''Denken Pensée Thought Mysl'' 7, La Habana: Criterios, May 2011. {{es}}
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** [[Media:Bishop Claire 2007 2016 O que e um curador A ascensao e queda do curador auteur.pdf|"O que é um curador? A ascensão (e queda?) do curador auteur"]], trans. Daniel Jablonski, ''Concinnitas'' 2:27, 2016, pp 270-282. [https://www.e-publicacoes.uerj.br/index.php/concinnitas/article/view/21180] {{br-pt}}
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* "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. {{en}}/{{ru}}
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* [https://brooklynrail.org/2011/12/art/unhappy-days-in-the-art-worldde-skilling-theater-re-skilling-performance "Unhappy Days in the Art World? De-skilling Theatre, Re-skilling Performance"], ''Brooklyn Rail'', Dec 2011.
 
* [https://brooklynrail.org/2011/12/art/unhappy-days-in-the-art-worldde-skilling-theater-re-skilling-performance "Unhappy Days in the Art World? De-skilling Theatre, Re-skilling Performance"], ''Brooklyn Rail'', Dec 2011.
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* [[Media:Bishop_Claire_2012_Delegated_Performance_Outsourcing_Authenticity.pdf|"Delegated Performance: Outsourcing Authenticity"]], ''October'' 140, Spring 2012, pp 91-112.
 
* [[Media:Bishop_Claire_2012_Delegated_Performance_Outsourcing_Authenticity.pdf|"Delegated Performance: Outsourcing Authenticity"]], ''October'' 140, Spring 2012, pp 91-112.
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* [[Media:Bishop_Claire_2012_Digital_Divide.pdf|"Digital Divide"]], ''Artforum'', Sep 2012, pp 434-442. On contemporary art and new media.
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** "Delegowany performance: o outsourcingu autentyczności", ''Krytyka Polityczna'' 24/25, 2010, pp 295-305. {{pl}}
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** [http://moscowartmagazine.com/issue/15/article/210 "Delegirovannyy performans: autsorsing podlinnosti"] [Делегированный перформанс: аутсорсинг подлинности], ''Художественный журнал: Moscow Art Magazine'' 82, 2011. {{ru}}
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* [[Media:Bishop_Claire_2012_Digital_Divide.pdf|"Digital Divide"]], ''Artforum'', Sep 2012, pp 434-442, [https://www.artforum.com/print/201207/digital-divide-contemporary-art-and-new-media-31944 HTML]. On contemporary art and new media. [https://www.artforum.com/print/201301/technical-difficulties-38517 Response by Lauren Cornell and Brian Droitcour, Response by Bishop].
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** ''[http://moscowartmagazine.com/issue/18/article/255 Tsifrovoy raskol]'' [Цифровой раскол], ''Художественный журнал: Moscow Art Magazine'' 96, 2015. [http://moscowartmagazine.com/issue/18] {{ru}}
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* [[Media:Bishop_Claire_2013_Reconstruction_Era_the_Anachronic_Times_of_Installation_Art.pdf|"Reconstruction Era: the Anachronic Time(s) of Installation Art"]], in ''When Attitudes Become Form: Bern 1969/Venice 2013'', ed. Germano Celant, Milan: Progetto Prada Arte, 2013, pp 429-436.
 
* [[Media:Bishop_Claire_2013_Reconstruction_Era_the_Anachronic_Times_of_Installation_Art.pdf|"Reconstruction Era: the Anachronic Time(s) of Installation Art"]], in ''When Attitudes Become Form: Bern 1969/Venice 2013'', ed. Germano Celant, Milan: Progetto Prada Arte, 2013, pp 429-436.
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* [[Media:Bishop_Claire_2014_The_Perils_and_Possibilities_of_Dance_in_the_Museum_Tate_MoMA_and_Whitney.pdf|"The Perils and Possibilities of Dance in the Museum: Tate, MoMA and Whitney"]], ''Dance Research Journal'' 46:3, Dec 2014, pp 62-76. Three institutional histories of dance in the museum from the 1930s to the present day: Tate, MoMA and Whitney. [https://www.academia.edu/12585376/]
 
* [[Media:Bishop_Claire_2014_The_Perils_and_Possibilities_of_Dance_in_the_Museum_Tate_MoMA_and_Whitney.pdf|"The Perils and Possibilities of Dance in the Museum: Tate, MoMA and Whitney"]], ''Dance Research Journal'' 46:3, Dec 2014, pp 62-76. Three institutional histories of dance in the museum from the 1930s to the present day: Tate, MoMA and Whitney. [https://www.academia.edu/12585376/]
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* [[Media:Bishop_Claire_2015_History_Depletes_Itself.pdf|"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. [https://www.academia.edu/18294717/]
 
* [[Media:Bishop_Claire_2015_History_Depletes_Itself.pdf|"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. [https://www.academia.edu/18294717/]
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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/]
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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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** [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://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/]
 +
 
 +
* [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.
 +
 
 
* 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.
 +
 +
==Interviews==
 +
* 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}}
 +
* with Julia Austin, [https://www.performanceparadigm.net/index.php/journal/article/viewFile/69/70 "Trauma, Antagonism and the Bodies of Others: A Dialogue on Delegated Performance"], ''Performance Paradigm'' 5:1, 2009.
 +
* Gerd Elise Mørland, [https://www.kulturradet.no/kunstloftet/vis-artikkel/-/kl-artikkel-2011-bishop-intervju "Deltagerbasert kunst – ikke nødvendigvis kvalitet?"], ''Kunstløftet'', Jul 2011. {{no}}
 +
* Terry Smith, "Claire Bishop: Museum Models, Radical Spectatorship", in Smith, ''Talking Contemporary Curating'', New York: Independent Curators International, 2015.
 +
* [https://monoskop.org/images/a/a8/Notes_Na_6_Tygodni_101_Sep_2015.pdf#page=115 "Ćwiczenia z choreografii społecznej. Z Claire Bishop rozmawia Magda Szalewicz"], ''Notes Na 6 Tygodni'' 101, Warsaw, Sep 2015, pp 81-91. {{pl}}
 +
* 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}}
  
 
==Links==
 
==Links==
 
* [http://clairebishopresearch.blogspot.com Personal website]
 
* [http://clairebishopresearch.blogspot.com Personal website]
 
* [http://gc-cuny.academia.edu/ClaireBishop Academia.edu]
 
* [http://gc-cuny.academia.edu/ClaireBishop Academia.edu]
−
* [https://www.gc.cuny.edu/Faculty/Core-Bios/Claire-Bishop Profile on The Graduate Center CUNY]
+
* [https://www.gc.cuny.edu/Faculty/Core-Bios/Claire-Bishop Profile on CUNY Graduate Center]
−
* [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]
+
* [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]
 +
* https://clairebishop.commons.gc.cuny.edu/
  
 
[[Category:Art history]] {{DEFAULTSORT:Bishop, Claire}}
 
[[Category:Art history]] {{DEFAULTSORT:Bishop, Claire}}

Revision as of 11:10, 13 April 2022

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

  • 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. (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. (Turkish)
  • Radical Museology, or, What's Contemporary in Museums of Contemporary Art?, London: Koenig Books, 2013, 79 pp; 2nd ed., rev., 2014, 79 pp. [7]
    • 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)
    • 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. (French)

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. [16]
  • "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." [17]

Interviews

Links

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