Bibliography
HISTORY
Antebi, Nicole, Colin Dickey, and Robby Herbst. Failure!: Experiments in Aesthetics and Social Practices. Los Angeles: Journal of Aesthetics and Protest Press. 2008.
Bishop, Claire. Participation. London: Whitechapel, 2006. 34-45.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso Books, 2012.
Frieling, R. et al. The Art of Participation: 1950 to Now. San Francisco and New York: The San Francisco Museum of Modern Art with Thames & Hudson, 2008.
Goldberg, RoseLee. Performance: Live Art since 1960. New York: Harry N. Abrams Publishers, 1998.
Goldberg, RoseLee. Performance Art: From Futurism to the Present. Third Edition ed. New York: Thames & Hudson, 2001.
Jackson, Shannon. Social Works: Performing Art, Supporting Publics. New York: Routledge, 2011.
Joselit, David. After Art. Princeton, NJ: Princeton University Press, 2013.
Kester, Grant H. The One and the Many: Contemporary Collaborative Art in a Global Context. Durham, N.C.: Duke University Press, 2011.
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge, Mass.: MIT Press, 2002.
Lacy, Suzanne, Moira Roth, and Kerstin Mey. Leaving Art: Writings on Performance, Politics, and Publics, 1974-2007. Durham, NC: Duke University Press, 2010.
Lambert-Beatty, Carrie. Being Watched: Yvonne Rainer and the 1960s. Cambridge: MIT Press, 2008.
Lippard, Lucy R. Six Years: The Dematerialization of the Art Object from 1966 to 1972. New York: Praeger, 1973.
Jenkins, J., ed. In the Spirit of Fluxus. Minneapolis, Minnesota: Walker Art Center, 1993.
Stimson, Blake, and Gregory Sholette. Collectivism After Modernism: The Art of Social Imagination After 1945. Minneapolis, MN: University of Minnesota Press, 2007.
Thompson, Nato. Living as Form: Socially Engaged Art From 1991-2011. New York: Creative Time, 2012.
THEORY
Adorno, Theodor W., and J. M. Bernstein. The Culture Industry: Selected Essays on Mass Culture. London: Routledge, 2001.
Bakhtin, M. M., and Michael Holquist. The Dialogic Imagination: Four Essays. Austin: University of Texas Press, 1981.
Barthes, Roland. “The Death of the Author.” Aspen 5-6 (1967): 13-17.
Berger, John. Ways of Seeing. London: British Broadcasting Corp., 1972.
Bishop, Claire. “Antagonism and Relational Aesthetics.” October 110 (Fall 2004): 51-79. Cambridge: October Magazine, Ltd., and Massachusetts Institute of Technology.
Bourdieu, Pierre. Distinction: a Social Critique of the Judgement of Taste. Cambridge, Mass.: Harvard University Press, 1984.
Bourriaud, Nicolas. Esthetique Relationelle (Relational Aesthetics). Paris: Les Presse Du Reel, 1998.
Brecht, Bertolt. Brecht on Art and Politics. Ed. Thomas Kuhn and Steve Giles. Trans. Laura Bradley, Steve Giles, and Tom Kuhn. London: Methuen, 2003.
Buck-Morss, Susan. The Origin of Negative Dialectics: Theodor W. Adorno, Walter Benjamin and the Frankfurt Institute. New York: Free Press, 1977.
Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture. Cambridge, Mass.: MIT Press, 1999.
Debord, Guy. The Society of the Spectacle. New York: Zone Books, 1994.
Foster, Hal. Recodings: Art, Spectacle, Cultural Politics. Port Townsend, Wash.: Bay Press, 1985.
Gillick, Liam. Contingent Factors: A Response to Claire Bishop’s ‘Antagonism and Relational Aesthetics.” October (Winter 2006): 95-107. Cambridge: October Magazine, Ltd., and Massachusetts Institute of Technology.
Krauss, Rosalind. The Optical Unconscious. Cambridge, Mass.: The MIT Press, 1994.
Ranciere, Jacques. The Emancipated Spectator. trans. Gregory Elliot. London: Verso, 2009.
PRACTICE
Allen, Mark. Machine Project: A Field Guide to the Los Angeles County Museum of Art.. Los Angeles, Calif.: Machine Project, 2009.
Bishop, Claire. "Participation and Spectacle: Where Are We Now?" In Living as Form: Socially Engaged Art from 1991-2011. New York, N.Y.: Creative Time, 2012.
Eccles, T., Tom Finkelpearl and Anne Pasternak. “Thinking about the Public in Public Art.” Creative Time: The Book: 33 Years of Public Art in New York City (pp. 82-90). New York: Princeton Architectural Press, 2007.
Finkel, Jori. “You’re Sure of a Big Surprise: A new breed of curators at US museums has the job of playing with visitors’ expectations.” The Art Newspaper, Issue 255 (March 2014).
Finkelpearl, Tom. Dialogues in Public Art. Cambridge, Mass.: MIT Press, 2000.
Finkelpearl, Tom. What We Made: Conversations on Art and Social Cooperation. Durham, N.C.: Duke University Press, 2013.
Hanru, Hou. Paradigm Shifts: Walter and McBean Galleries, Exhibitions and Public Programs, San Francisco Art Institute, 2006-2011. San Francisco, CA: San Francisco Art Institute, 2011.
Helguera, Pablo. Education for Socially Engaged Art: A Materials and Techniques Handbook. New York: Jorge Pinto Books, 2011.
Helguera, Pablo. Art Scenes: The Social Scripts of the Art World. New York: Jorge Pinto Books, 2012.
Kester, Grant, and Erik Bluhm. Engagement Party: Social Practice at MOCA, 2008-2012. Ed. Elizabeth Hamilton. Los Angeles: Museum of Contemporary Art, 2012.
Kwastek, Katja. Aesthetics of Interaction in Digital Art. Cambridge, MA: MIT Press, 2013.
Lacy, Suzanne. Mapping the Terrain: New Genre Public Art. Seattle, Wash.: Bay Press, 1995.
Long, Stephen. "Practicing Civic Engagement: Making your Museum into a Community Living Room." Journal of Museum Education 38, no. 2 (2013): 141-153.
Mastering Civic Engagement: A Challenge to Museums. Washington, DC: American Association of Museums, 2002.
Parry, Ross. Museums in a Digital Age. Hoboken: Taylor and Francis, 2013.
Pollack. Barbara. “You’re Engaged!” ARTnews Online January 01, 2011.(accessed August 23, 2014)
Purves, Ted, and Shane Aslan Selzer, eds. What We Want Is Free: Critical Exchanges in Recent Art. Second ed. New York: State University of New York, Albany, 2014.
Raven, Arlene, ed. Art in the Public Interest. Ann Arbor: UMI Research Press, 1989.
Schultz, Sarah, and Sarah Peters. Open Field: Conversations on the Commons. New York: Art Publishers, 2012.
Simon, Nina. The Participatory Museum. Santa Cruz, Calif.: Museum 2.0, 2010.
Thompson, Nato. Seeing Power: Art and Activism in the Age of Culture Production. New York: Melville House, 2014.
Thompson, Nato. Seeing Power: Socially Engaged Art in the Age of Cultural Production. Brooklyn, N.Y.: Melville House, 2012.