Claire Bishop
Position: Professor
Program: Art History
Campus Affiliation: Graduate Center
Phone: 212-817-8035
Office Hours: variable
Degrees/Diplomas: Ph.D. University of Essex, 2002 M.A. University of Essex, 1996 B.A. University of Cambridge, 1994
Research Interests: Contemporary art, performance art, art & politics, exhibition history, post- and de-colonial theory.
Claire Bishop, professor of art history, is widely considered to be an original thinker and creative interpreter of contemporary art, as well as a dynamic teacher. She holds a 2002 Ph.D. from the University of Essex. Her dissertation was published as Installation Art: A Critical History and quickly became an indispensable resource for anyone interested in the subject, and her edited volume, Participation, is also highly regarded. Her book Artificial Hells: Participatory Art and the Politics of Spectatorship (2012) was one of two sole winners of the College Art Association’s 2013 Frank Jewett Mather Award for art criticism. Bishop is also the author of two influential essays, “Antagonism and Relational Aesthetics” (October, 2004) and “The Social Turn: Collaboration and its Discontents” (Artforum, 2006). Her books and articles have been translated into twenty languages, and she is a Contributing Editor to Artforum. See her website on and online archive.

Awards and Grants
  • Research Fellowship, Sterling and Francine Clark Institute, Williamstown (2013)
  • Frank Jewett Mather prize for art criticism (2013)
  • ASAP book award prize (2013)
  • Andy Warhol Foundation Arts Writers Grant, (2017)
  • Tania Bruguera in conversation with/en conversación con Claire Bishop, NY: Cisneros, 2020
  • Radical Museology, or, What’s ‘Contemporary’ in Museums of Contemporary Art?, Cologne: Koenig Buchhandlung, 2013
  • Artificial Hells: Participatory Art and the Politics of Spectatorship, London: Verso, 2012
  • Participation, London: Whitechapel Art Gallery and Cambridge, Mass: MIT Pres, 2006
  • Installation Art: A Critical History, London: Tate Publishing & New York: Routledge, 2005
  • 2020, ‘Free Your Mind: A Speculative Review of #newMoMA’ (co-authored with Nikki Columbus), n+1, January, your-mind/
  • 2019, Okwui Enwezor (Obituary), Third Text,
  • 2018, ‘Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention’, TDR, 62:2, 22–42
  • 2017, ‘Against Digital Art History’, Humanities Futures/Franklin Humanities Institute, Duke University,
  • 2014, ‘The Perils and Possibilities of Dance in the Museum: MoMA, Whitney and Tate’, Dance Research Journal, vol.46, no.3, 62–76
  • 2012, ‘Digital Divide: Contemporary Art and New Media’, Artforum, September, 434–441.
  • 2011, ‘Unhappy Days in the Art World? Deskilling Theater, Reskilling Performance’, Al Held Essays, Brooklyn Rail, December, 39–40
  • 2006, ‘The Social Turn: Collaboration and its Discontents’, Artforum, February 2006, pp.178–183
  • 2004, ‘Antagonism and Relational Aesthetics’, October (MIT Press), no.110, Fall 2004, 51–79