Synthesized answer
The provided passages do not contain information that directly answers what questions remain unanswered. They focus on describing Claire Bishop's book "Artificial Hells" as a critique of participatory art. The passages highlight that the book scrutinizes the emancipatory claims made for participatory projects and offers an alternative to ethical criteria for evaluating such artworks [1]. It also calls for a less prescriptive approach and for more compelling forms of participatory art and criticism [1].
While the passages detail the scope and critical stance of "Artificial Hells," they do not list specific questions that the book leaves unanswered.
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s 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. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides…
Title: Artificial Hells by Claire Bishop Description: This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of…