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The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century art. This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context. Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter Brger, Jen-Luc Nancy, Edoaurd Glissant, and Flix Guattari, as well as the first translation into English of Jacques Rancire's influential "Problems and Transformations in Critical Art." The book also includes central writings by such artists as Lygia Clark and Hlio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist. Copublished with Whitechapel Art Gallery, London
--このテキストは、 ペーパーバック 版に関連付けられています。著者について
Claire Bishop is the author of Installation Art: A Critical History and a contributor to many art journals, including ArtForum, Flash Art, and October. She is a Lecturer in History of Art at the University of Warwick.
--このテキストは、
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Amazon.com で最も参考になったカスタマーレビュー (beta)
Amazon.com:
3件のカスタマーレビュー
16 人中、15人の方が、｢このレビューが参考になった｣と投票しています。
Disappointing
2010/1/29
形式:ペーパーバック
This edited collection of short readings is part of a series jointly published by Whitechapel gallery and MIT press. They are all based around topical themes in modern and contemporary art: participation, the archive, utopia, appropriation and so forth. This one on participation is not very well structured, the selected texts are often very abbreviated, and the logic of the selection is hard to follow.
For anyone seriously interested in the topic of participation in art this book will disappoint. A better book would be Grant Kester's Conversation Pieces or the recent exhibition catalogue (The Art of Participation 1950 to Now), or Bourriaud's Relational Aesthetics. If you don't know anything at all about participation in art and want a few pointers on the topic, it's OK but not great.
Having bought this one and flicked through others in the series in bookshops I wouldn't buy another one.
I can't work out who the publishers are aiming at in terms of audience, maybe undergraduates?
For anyone seriously interested in the topic of participation in art this book will disappoint. A better book would be Grant Kester's Conversation Pieces or the recent exhibition catalogue (The Art of Participation 1950 to Now), or Bourriaud's Relational Aesthetics. If you don't know anything at all about participation in art and want a few pointers on the topic, it's OK but not great.
Having bought this one and flicked through others in the series in bookshops I wouldn't buy another one.
I can't work out who the publishers are aiming at in terms of audience, maybe undergraduates?
44 人中、17人の方が、｢このレビューが参考になった｣と投票しています。
a must for all art afficiados
2007/4/3
形式:ペーパーバック|Amazonが確認した購入
Until I read this book I could not give myself permission to have my own ideas about some of the world's greatest art pieces and give my educated opinion about them. Umberto Eco's 1st essay is a wonder!
51 人中、1人の方が、｢このレビューが参考になった｣と投票しています。
very good
2009/2/27
形式:ペーパーバック
This book arrived on time. The book was new as described by seller and had a good price.
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