Artificial Hells

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This searing critique of participatory art examines its development and political ambitions, making it essential for contemporary art history scholars and anyone intrigued by the nature of art. Since the 1990s, the idea that participatory art fosters political engagement has gained traction among critics and curators. Proponents include notable figures like Grant Kester, Nicolas Bourriaud, and Shannon Jackson. This work offers the first historical and theoretical overview of socially engaged participatory art, or “social practice” in the U.S. Claire Bishop traces the evolution of a participatory aesthetic through key movements, including Futurism, Dada, the Situationist International, and the 1970s Community Arts Movement, culminating in contemporary projects by artists such as Thomas Hirschhorn and Tania Bruguera. Following her provocative essay in Artforum in 2006, Bishop critically assesses the political and aesthetic claims surrounding participatory art. She challenges the notion of its emancipatory potential and proposes an alternative to the ethical frameworks often applied to these works. Bishop advocates for a less prescriptive approach to art and politics, urging for more compelling and provocative forms of participatory art and criticism.