Participatory art

Participatory art is an approach to making art in which the audience is engaged directly in the creative process, allowing them to become co-authors, editors, and observers of the work. Therefore,this type of art is incomplete without the viewers physical interaction. Its intent is to challenge the dominant form of making art in the West, in which a small class of professional artists make the art while the public takes on the role of passive observer or consumer, i.e., buying the work of the professionals in the marketplace. Commended works by advocates that popularized participatory art include Augusto Boal in his Theater of the oppressed, as well as Allan Kaprow in happenings.

One of the earliest usages of the term appears in photographer Richard Ross (photographer)'s review for the Los Angeles Institute of Contemporary Art journal of the exhibition "Downtown Los Angeles Artists," organized by the Santa Barbara Contemporary Arts Forum in 1980. Describing in situ works by Jon Peterson (artist), Maura Sheehan and Judy Simonian anonymously placed around Santa Barbara, Ross wrote, "These artists bear the responsibility to the community. Their art is participatory."

It is important to point out that there has been some nominal obfuscation of Participatory Art, causing its appreciation as a distinct form to be stymied. It is most likely that this occurred simultaneously with the development of the term "Relational Aesthetics" by in the late 1990s. Some other art making techniques, such as 'community-based art', 'interactive art', or 'socially-engaged art' have been (mis)labelled as Participatory art, simply because the subtleties of distinction are not always clearly understood or cared about. Participatory art requires of the artist that they either not be present, or that they somehow are able to recede far enough to become equal with the participants. This is the only way that participants might be offered the agency of creation; without this detail, participants will always respond within the domain of authority of the artist; they will be subjugated in this way, and the work will fail to be participatory. This detail is centrally important in asserting Participation as a form in itself, and effectively differentiates Participation from interactive, community based art and socially engaged art. Any of these techniques can include the presence of the artist, as it will not impinge upon the outcome of the work in the same way.

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