Existing Models for the Evaluation of Participatory Art Are participatory art assessment models based on ethics or aesthetics?

Existing Models for the Evaluation of Participatory Art
Are participatory art assessment models based on ethics or aesthetics? And if it’s based on the two, how are they bonded?

Essay outline

Overview
My goal is to say that the existing models for assessing participatory art (the Bishop model, the Kester model) lack what makes participatory artworks unique as:
Claire Bishop’s model for assessing participatory art based on aesthetic aspects lacks reliance on ethical aspects.
Kester’s model of dialogue aesthetics, which relies on the ethical aspects of evaluating participatory art, lacks the aesthetic aspects.
To do so, I will highlight examples of participatory art and outline the questions that they raise.
In conclusion, I will return to the examples to show that the ethical and aesthetic aspects are inseparable in evaluating participatory art.
Introduction

I review the concept of participatory art and how it can be evaluated, with a review of the concept of participatory art by Claire Bishop and Grant Kester, and on the basis of what each of them is based on in their model,By looking at the broad outlines on which Bishop built the philosophy of the German romantics (Ranciere), as well as Kester’s model of dialogic aesthetics rooted in Jürgen Habermas.

Argument for Claire Bishop:

Bishop’s account is characterized by her claim to take the ‘aesthetic’ element of participatory art practice seriously. According to her argument – fundamentally inspired by the French philosopher Jacques Rancière – an ethical assessment of participatory art is flawed because of its didacticism and its incapacity to conceive of art as an autonomous aesthetic realm. Rather than conceiving of participatory art as a form that aims to establish a harmonious equilibrium between the individual collaborators, Bishop favours a Lacanian account of desire according to which the artist aspires to use the social relations between participants.

Argument for Grant Kester:

In contrast to Bishop’s, Kester’s account shifts into the other extreme since his explanation of participatory art as an aesthetic phenomenon employs a purely ethical model. Kester introduces an account of dialogical aesthetics in order to explain the value of participatory art. His explanation raises the question of how one can distinguish participation as an aesthetic engagement from other forms of participation, such as the participation in the building of a house, that do not normally possess an aesthetic element.

Conclusion
we extract the philosophical principles that must be included in the participatory art evaluation model, according to what will be reviewed.

This source may be useful:

S. Hegenbart: “The Participatory Art Museum: Approached from a Philosophical Perspective”

The essay should contain many examples as well as mention the philosophical arguments and counter-arguments for both sides

DEADLINE 21/01/21 – 4.500 Words with reference

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