Pratt Institute | 200 Willoughby Avenue
Location: Higgins Hall Auditorium, 65 St. James Place, Brooklyn, NY
The staging of performance in the museum has recently come under fire from a number of art historians and critics, who argue that it is a misguided fad and a cynical marketing gesture. Performance theorists, by contrast, have tended to analyse performance in the museum in terms of post-Fordist theories of labour. Both these approaches create a reductive bond between
contemporary performance and neoliberal economics. This paper seeks to shift the discussion away from questions of spectacle, marketing, and labor, and instead to position performance more dialectically in relation to contemporary experience. Key to this argument is a discussion of live performance in the museum and its relationship to ubiquitous portable
technology, particularly its impact upon temporality, attention, and the public sphere.
Claire Bishop is a Professor in the PhD Program in Art History at the Graduate Center, City University of New York. Her books include Installation Art: A Critical History (2005) and Artificial Hells: Participatory Art and the Politics of Spectatorship (2012), for which she
won the 2013 Frank Jewett Mather award, and Radical Museology, or, What’s Contemporary in Museums of Contemporary Art? (2013). She is a regular contributor to Artforum, and her essays and books have been translated into eighteen languages. Her current research concerns the impact of digital technology on contemporary art and performance since 1989.
Doors open at 6 PM.
This event is free and open to the public.