| 词条 | Claire Bishop |
| 释义 |
| name = Claire Bishop | image = | alt = | caption = | birth_name = | birth_date = {{Birth year and age|1971}} | birth_place = | death_date = | death_place = | nationality = British | other_names = | education = Cambridge University, Essex University | occupation = Art historian, professor, art critic | years_active = | known_for = | notable_works = }} Claire Bishop is an art historian, critic, and professor in the art history department at CUNY Graduate Center, New York since September 2008.[1] Bishop is the author of Artificial Hells: Participatory Art and the Politics of Spectatorship (2012) and is a contributor to art journals including Artforum and October. She is known as one of the central theorists of participation in visual art and performance. Bishop's essay “Antagonism and Relational Aesthetics,” which appeared in October in 2004, remains an influential critique of relational aesthetics.[2] Her books have been translated into over eighteen languages. Early life and educationBishop grew up on the Welsh border, attended Welshpool High School, studied art history at St John's College, Cambridge (1990-1994) 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. CareerBishop'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.[3] Artificial Hells: Participatory Art and the Politics of Spectatorship was reviewed in a wide range of publications including Art in America,[4] Art Journal,[5] CAA Reviews (College Art Association),[6] Art Review,[7] Art Monthly,[8] and TDR: The Drama Review.[9] 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 publicationsBooks
Edited Volumes
Papers
References1. ^{{cite web|title='Ruin lust' dominates contemporary art, says US author and academic Claire Bishop|url=http://www.smh.com.au/entertainment/art-and-design/ruin-lust-dominates-contemporary-art-says-us-author-and-academic-claire-bishop-20141215-127n9n.html|website=The Sydney Morning Herald|accessdate=25 March 2015}} 2. ^{{cite web|url = http://www.formerwest.org/Team/ClaireBishop|title = Former West Conference Bio|date = |accessdate = |website = |publisher = |last = |first = }} 3. ^{{Cite book|title = Artificial Hells: Participatory Art and the Politics of Spectatorship|last = Bishop|first = Claire|publisher = Verso|year = 2012|isbn = 978-1-84467-690-3|location = |pages = back cover}} 4. ^{{cite journal|last1=Heartney|first1=Eleanor|title=Can Art Change Lives?|journal=Art in America|date=June 2012|volume=100|issue=6|page=67}} 5. ^{{cite journal|last1=Charnley|first1=Kim|title=Criticism and Cooperation|journal=Art Journal|date=Summer 2014|volume=73|issue=2|pages=116–118|doi=10.1080/00043249.2014.949523}} 6. ^{{cite journal|last1=Widrich|first1=Mechtild|title=Artificial Hells: Participatory Art and the Politics of Spectatorship|journal=CAA Reviews (College Art Association)|date=August 12, 2013|pages=1–3}} 7. ^{{cite journal|last1=Charlesworth|first1=J.J.|title=Artificial Hells Participatory Art and the Politics Spectatorship|journal=Art Review|date=October 2012|issue=62|page=142}} 8. ^{{cite journal|last1=Quaintance|first1=Morgan|title=Artificial Hells|journal=Art Monthly|date=September 2012|issue=359|page=37}} 9. ^{{cite journal|last1=Watt|first1=Kenn|title=Artificial Hells: Participatory Art and the Politics of Spectatorship by Claire Bishop (review)|journal=TDR: The Drama Review|date=2014|volume=58|issue=1|pages=181–183|doi=10.1162/dram_r_00340}} External links
7 : British art historians|Alumni of St John's College, Cambridge|City University of New York faculty|Graduate Center, CUNY faculty|Alumni of the University of Essex|Living people|1971 births |
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