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Installation Art

Installation art uses sculptural materials and other media to modify the way we experience a particular space. Installation art is not necessarily confined to gallery spaces and can be any material intervention in everyday public or private spaces.

Installation art incorporates almost any media to create an experience in a particular environment. Materials used in contemporary installation art range from everyday and natural materials to new media such as video, sound, performance, computers and the internet. Some installations are site-specific in that they are designed to only exist in the space for which they were created.

History

This genre of contemporary art came to prominence in the 1970s. Many trace the roots of this form of art to earlier artists such as Marcel Duchamp and his use of the readymade or to Kurt Schwitters' Merz art objects, rather than more traditional craft based sculpture. The intention of the artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. This again is a departure from traditional sculpture which places its focus on form. Early non-Western installation art includes events staged by the Gutai group in Japan starting in 1954, which influenced American installation pioneers like Allan Kaprow.

Installation as nomenclature for a specific form of art came into use fairly recently; its first use as documented by the OED was in 1969. It was coined in this context in reference to a form of art that had arguably existed since prehistory but was not regarded as a discrete category until the mid-twentieth century. Allan Kaprow used the term “Environment” in 1958 (Kaprow 6) to describe his transformed indoor spaces; this later joined such terms as “project art” and “temporary art.”

Essentially, installation/environmental art takes into account the viewer’s entire sensory experience, rather than floating framed points of focus on a “neutral” wall or displaying isolated objects (literally) on a pedestal. This leaves space and time as its only dimensional constants. This implies dissolution of the line between art and life; Kaprow noted that “if we bypass ‘art’ and take nature itself as a model or point of departure, we may be able to devise a different kind of art… out of the sensory stuff of ordinary life” (Kaprow 12).

The conscious act of artistically addressing all the senses with regard to the viewer’s experience in totality made a resounding debut in 1849 when Richard Wagner conceived of a Gesamtkunstwerk, or an operatic work for the stage that drew inspiration from ancient Greek theater in its inclusion of all the major art forms: painting, writing, music, etc. (Britannica) In devising operatic works to commandeer the audience’s senses, Wagner left nothing unobserved: architecture, ambience, and even the audience itself were considered and manipulated in order to achieve a state of total artistic immersion.

In “Art and Objecthood,” Michael Fried derisively labels art that acknowledges the viewer as “theatrical” (Fried 45). There is a strong parallel between installation and theater: both play to a viewer who is expected to be at once immersed in the sensory/narrative experience that surrounds him and maintain a degree of self-identity as a viewer. The traditional theatergoer does not forget that he has come in from outside to sit and take in a created experience; a trademark of installation art has been the curious and eager viewer, still aware that he is in an exhibition setting and tentatively exploring the novel universe of the installation. A number of institutions focusing on Installation art were created from the 1980s onwards, suggesting the need for Installation to be seen as a separate discipline. These included the Mattress Factory, Pittsburgh and the Museum of Installation, London, among others.

The artist and critic Ilya Kabakov mentions this essential phenomenon in the introduction to his lectures “On the “Total” Installation:” “[One] is simultaneously both a ‘victim’ and a viewer, who on the one hand surveys and evaluates the installation, and on the other, follows those associations, recollections which arise in him[;] he is overcome by the intense atmosphere of the total illusion” (Kabakov 256). Here installation art bestows an unprecedented importance on the observer’s inclusion in that which he observes. The expectations and social habits that the viewer takes with him into the space of the installation will remain with him as he enters, to be either applied or negated once he has taken in the new environment. What is common to nearly all installation art is a consideration of the experience in toto and the problems it may present, namely the constant conflict between disinterested criticism and sympathetic involvement. Television and video offer immersive experiences, but their unrelenting control over the rhythm of passing time and the arrangement of images precludes an intimately personal viewing experience (Kabakov 257). Ultimately, the only things a viewer can be assured of when experiencing the work are his own thoughts and preconceptions and the basic rules of space and time. All else may be molded by the artist’s hands.

The central importance of the subjective point of view when experiencing installation art, points toward a disregard for traditional Platonic image theory. In effect, the entire installation adopts the character of the simulacrum or flawed statue: it neglects any ideal form in favor of optimizing its direct appearance to the observer. Installation art operates fully within the realm of sensory perception, in a sense “installing” the viewer into an artificial system with an appeal to his subjective perception as its ultimate goal.

Interactive installations

Interactive installation is a branch off the installation arts category. Usually, an interactive installation will often involve the audience acting on it or the piece responding to the user’s activity. There are several kinds of interactive installations produced, these include web-based installations, gallery based installations, digital based installations, electronic based installations, etc. Interactive installations are mostly seen from the 1990s, when artists are more interested in the participation of the audiences where the meaning of the installation is generated.

With the improvement of technology over the years, artists are more able to explore out of the boundaries that were never be able to explore by artists in the past. The media used are more experimental and bold; they are also usually cross media and may involve sensors, which plays on the reaction to the audiences’ movement when looking at the installations. By using virtual Reality as a medium, immersive art is probably the most deeply interactive form of art. At the turn of a new century, there is a trend of interactive installations using video, film, sound and sculpture.

Contemporary installation artists

Bibliography

See also

External links

Contemporary installation organizations and museums
Installation art
10th January 2000: "AOL and Time Warner merger". Two media giants from different media backgrounds: AOL (internet based) and Time Warner (print, film, television, radio). While Time Warner produced and warehoused content (news, movies, music), AOL's web portal provided the vehicle
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Video (Latin for "I see", first person singular present, indicative of videre, "to see") is the technology of electronically capturing, recording, processing, storing, transmitting, and reconstructing a sequence of still images representing scenes in motion.
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Sound is a disturbance of mechanical energy that propagates through matter as a wave (through fluids as a compression wave, and through solids as both compression and shear waves).
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performance, in performing arts, generally comprises an event in which one group of people (the performer or performers) behave in a particular way for another group of people (the audience).
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computer is a machine which manipulates data according to a list of instructions.

Computers take numerous physical forms. The first devices that resemble modern computers date to the mid-20th century (around 1940 - 1941), although the computer concept and various machines
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Internet is a worldwide, publicly accessible series of interconnected computer networks that transmit data by packet switching using the standard Internet Protocol (IP). It is a "network of networks" that consists of millions of smaller domestic, academic, business, and government
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Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork.

Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements (the
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For the gay men's lifestyle magazine, see Genre (magazine).
A genre [ˈʒã:rə], (French: "kind" or "sort" from Greek: γένος (genos)) is a loose set of criteria for
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Contemporary art can be defined variously as art produced at this present point in time or art produced since World War II. The definition of the word contemporary would support the first view, but museums of contemporary art commonly define their collections as consisting of art
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Birth name Henri-Robert-Marcel Duchamp
July 28 1887(1887--)
Blainville-Crevon, France
September 2 1968 (aged 81)
Neuilly-sur-Seine, France
French, becoming a U.S.
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found art—more commonly found object (French: objet trouvé) or readymade—describes art created from the undisguised, but often modified, use of objects that are not normally considered art, often because they already have a mundane, utilitarian
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Kurt Schwitters (June 20, 1887 - January 8, 1948) was a German painter who was born in Hannover, Germany.

Schwitters worked in several genres and media, including Dadaism, Constructivism, Surrealism, poetry, sound, painting, collage, sculpture, graphic design, typography and
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A craft is a skill, especially involving practical arts. It may refer to a trade or particular art.

The term is often used as part of a longer word (and also in the plural).
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sculpture is a man-made three-dimensional object intended for special recognition as art. A person that creates sculptures is called a sculptor.

Materials of sculpture through history


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Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. Many of the works of the artist Sol LeWitt may be constructed by anyone simply by following a set of written instructions.
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Form (Lat. forma Eng. mould), refers to the external three-dimensional outline, appearance or configuration of some thing - in contrast to the matter or content or substance of which it is composed (compare with shape).
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The Gutai group (also spelled Gutaï or Gutaj, but in every case pronounced to rhyme with "to tie") was an artistic movement and association of artists founded (according to most sources) by Jiro Yoshihara in Japan in 1954.
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Allan Kaprow (August 23, 1927 - April 5, 2006) was an American painter, assemblagist and a pioneer in establishing the concepts of performance art. He helped to develop the "Environment" and "Happening" in the late 1950s and 1960s, as well as their theory.
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Allan Kaprow (August 23, 1927 - April 5, 2006) was an American painter, assemblagist and a pioneer in establishing the concepts of performance art. He helped to develop the "Environment" and "Happening" in the late 1950s and 1960s, as well as their theory.
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The term SPACE (capitalized) can refer to:
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time.

One view is that time is part of the fundamental structure of the universe, a dimension in which events occur in sequence, and time itself is something that can be measured.
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Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, conductor, music theorist, and essayist, primarily known for his operas (or "music dramas" as they were later called).
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Greek theatre (AE theater) or Greek drama is a theatrical tradition that flourished in ancient Greece between c. 550 and c. 220 BC. Athens, the political and military power in Greece during this period, was the center of ancient Greek theatre.
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Painting, meant literally, is the practice of applying color to a surface (support) such as paper, canvas, wood, glass, lacquer or concrete. However, when used in an artistic sense, the term "painting" means the use of this activity in combination with drawing, composition and
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Writing, is the representation of language in a textual medium; that is with the use of signs or symbols. It is distinguished from illustration such as cave drawings and paintings, and recording language via a non-textual medium such as magnetic tape audio.
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Architecture is the art and science of designing buildings and structures. A wider definition often includes the design of the total built environment: from the macrolevel of town planning, urban design, and landscape architecture to the microlevel of construction details and,
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An audience is a group of people who participate in an experience or encounter a work of art, literature, theatre, music or academics in any medium. Audience members participate in different ways in different kinds of art; some events invite overt audience participation and others
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Michael Fried (born 1939, New York City) is an influential Modernist art critic and art historian. He studied at Princeton University and Harvard University and was a Rhodes Scholar at Merton College, Oxford University. He is currently the J.R.
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perception is the process of acquiring, interpreting, selecting, and organizing sensory information. It is a task far more complex than was imagined in the 1950s and 1960s, when it was proclaimed that building perceiving machines would take about a decade, but, needless to say,
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