Participatory Art and the Politics of Spectatorship - autonomous ...

acknowledgements
Oda Projesi, Janelle Reinelt, Pedro Reyes, Nicholas Ridout, David Riff,
Tim Rollins, Joe Scanlan, Christoph Schlingensief, Carolee Schneemann,
Tino Sehgal, Valerie Smith, Barbara Steveni, Superfl ex, Sally Tallant,
Temporary Services, Per Gunnar Tverbakk, Mierle Laderman Ukeles,
Bob Whitman, Artur Żmijewski.
Thanks also to Jenny Tobias at MoMA Library, graduate students who
helped me with translations (Arnaud Gerspacher, Anya Pantuyeva, Liz
Donato) and photo research (Tina Kukielski), and especially to those
artists who allowed me to reproduce images of their work without a fee.
For invaluable editorial advice I am indebted to Tim Clark, Lindsay
Caplan, TJ Demos and the wonderful Nikki Columbus.
The research for this book was kick- started by an Early Career Fellowship
from the Leverhulme Trust (2004– 6), which enabled me to take two
years to think and travel without the pressure of delivering immediate
returns. This is a rare model of funding in the UK and was foundational to
this research. It was supplemented by residencies at tranzit (Prague, 2009)
and El Centro de Investigaciones Artísticas (Buenos Aires, 2009), and by
travel and research funds generously made available to me as faculty of
CUNY Graduate Center. Under the auspices of Former West (2008– 10) I
was involved in the organisation of three conferences that informed this
research: 1968– 1989: Political Upheaval and Artistic Change (Muzeum
Sztuki Nowoczesnej, Warsaw, July 2008); Where the West Ends (Muzeum
Sztuki Nowoczesnej, Warsaw, March 2010); and Art and The Social: Exhibitions
of Contemporary Art in the 1990s (Tate Britain, London, April
2010). The last two are available online at formerwest.org.
Finally, huge thanks to my wonderful family for putting up with, and
encouraging, my idiosyncracies and obsessions. This book is dedicated to
Joyce and Claude.
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