What is Claire Bishop's main theory on participatory art?
My central argument in 'Artificial Hells' is that much of what is termed 'participatory art' or 'socially engaged art' has been embraced with a certain uncritical optimism. I propose that we need to analyze these works not just for their intentions or the experience they create, but for their actual political and aesthetic outcomes, considering the dynamics of spectatorship and the potential for exploitation or alienation within these social encounters.
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