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. | ||
| + | |||
| + | ==Publications== | ||
| + | ===Books=== | ||
| + | * ''Installation Art: A Critical History'', London: Tate, and Routledge, 2005, 144 pp. [https://monoskop.org/log/?p=5332] | ||
| + | * editor, ''[https://monoskop.org/log/?p=2405 Participation]'', London: Whitechapel, and MIT Press, 2006, 207 pp. | ||
| + | * editor, with Silvia Tramontana, ''[[Media:Bishop Claire Tramontana Silvia eds Double Agent 2008.pdf|Double Agent]]'', London: Institute of Contemporary Arts, 2008, 138 pp. Catalogue. [https://www.academia.edu/3052591/] | ||
| + | * editor, with Marta Dziewańska, ''[https://monoskop.org/log/?p=14379 1968/1989: Political Upheaval and Artistic Change]'', Warsaw: Museum of Modern Art, 2010, 504 pp. {{en}}/{{pl}} | ||
| + | * ''[https://monoskop.org/log/?p=4791 Artificial Hells: Participatory Art and the Politics of Spectatorship]'', London: Verso, 2012, 390 pp. | ||
| + | ** [[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}} | ||
| + | * ''[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] | ||
| + | |||
| + | ===Essays=== | ||
| + | * [[Media:Bishop_Claire_2004_Antagonism_and_Relational_Aesthetics.pdf|"Antagonism and Relational Aesthetics"]], ''October'' 110, Fall 2004, pp 51-79. | ||
| + | * [[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_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] | ||
| + | ** [[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_2012_Delegated_Performance_Outsourcing_Authenticity.pdf|"Delegated Performance: Outsourcing Authenticity"]], ''October'' 140, Spring 2012, pp 91-112. | ||
| + | * [[Media:Bishop_Claire_2012_Digital_Divide.pdf|"Digital Divide"]], ''Artforum'', Sep 2012, pp 434-442. On contemporary art and new media. | ||
| + | * [[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_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. | ||
| + | * [[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/] | ||
| + | |||
| + | ==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://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] | ||
[[Category:Art history]] {{DEFAULTSORT:Bishop, Claire}} | [[Category:Art history]] {{DEFAULTSORT:Bishop, Claire}} | ||
Revision as of 11:32, 16 January 2020
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.
Contents
Publications
Books
- Installation Art: A Critical History, London: Tate, and Routledge, 2005, 144 pp. [1]
- 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]
- editor, with Marta Dziewańska, 1968/1989: Political Upheaval and Artistic Change, Warsaw: Museum of Modern Art, 2010, 504 pp. (English)/(Polish)
- Artificial Hells: Participatory Art and the Politics of Spectatorship, London: Verso, 2012, 390 pp.
- "Partycypacja i spektakl", trans. Piotr Juskowiak, Kultura Współczesna 2, 2013, pp 26-36. Trans. of Conclusion. (Polish)
- Radical Museology, or, What's Contemporary in Museums of Contemporary Art?, London: Koenig Books, 2013, 79 pp. [3]
Essays
- "Antagonism and Relational Aesthetics", October 110, Fall 2004, pp 51-79.
- "The Social Turn: Collaboration and Its Discontents", Artforum, Feb 2006, pp 178-183, PDF; repr. in Right About Now: Art & Theory since the 1990s, eds. Margriet Schavemaker and Mischa Rakier, Amsterdam: Valiz, 2007, pp 58-68.
- "What Is a Curator?", 2007. Paper presented at Shifting Practice, Shifting Roles: Artists' Installations and the Museum, Tate Modern, Mar 2007. [4]
- "¿Qué es un curador? El ascenso (¿y caída?) del curador auteur", Denken Pensée Thought Mysl 7, La Habana: Criterios, May 2011. (Spanish)
- "Delegated Performance: Outsourcing Authenticity", October 140, Spring 2012, pp 91-112.
- "Digital Divide", Artforum, Sep 2012, pp 434-442. On contemporary art and new media.
- "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.
- "Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention", TDR: The Drama Review 62:2 (T238), Summer 2018, pp 22-42.
- "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." [5]
