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The much anticipated follow-up volume to our bestselling 2011 title Installation Art, this is the most impressive collection of renowned avant-garde installation pieces to-date. Only top-tier projects are featured, including biennale pieces from many different countries. Interior gallery and museum installations encourage poetic new ways of looking at enclosed space, while exterior projects on both large and small scales astound through their dramatic use of materials and reinvent the urban and rural built environment. Pink balloons are suspended in rows above the main thoroughfare of a major city, a prism of colored threads hung in the air makes an otherwise blas staircase magical, thin rays of light hover in space, a hole in a gallery wall reveals an entire hidden realm composed of layered ice blocks, while neoclassical arched windows pour transparent crystallized ice flows out onto marble floors. This book changes how we look at our everyday surroundings and their possibilities.
This book explores the traditions, achievements and ambitions of the installation artist. This brilliant survey documents and illustrates a global range of installations, capturing the full variety and scale of these many-layered works.
A History of Installation Art and the Development of New Art Forms by Faye Ran Pdf
Art mirrors life; life returns the favor. How could nineteenth and twentieth century technologies foster both the change in the world view generally called postmodernism and the development of new art forms? Scholar and curator Faye Ran shows how interactions of art and technology led to cultural changes and the evolution of Installation art as a genre unto itself - a fascinating hybrid of expanded sculpture in terms of context, site, and environment, and expanded theatre in terms of performer, performance, and public.
Installation art as experience of self, in space and time by Christine Vial Kayser,Sylvie Coëllier Pdf
Installation art has modified our relationship to art for over fifty years by soliciting the whole body, demonstrating its sensitivity to space, surroundings, and the living beings with which it is constantly interacting. This book analyses this modification of perception through phenomenological approaches convoking Husserl, Heidegger, Merleau-Ponty, as well as Levinas, Depraz, and the neuroscientist Varela. This theoretical framework is implicit in the various case studies which revisit works that have become classic or emblematic by Carl Andre, Bruce Nauman, Dan Graham; inaugural experiments that remain available only through photographic and written archives by Jean-Michel Sanejouand, Philippe Parreno, as well as the influence of the mode in the realm of music. The book also examines the transference of this Western form to Asia, revealing how it resonates with ancient Asian representations and practices—often associated with the spiritual. The distinct chapters underpin the role of space as a metaframe, the common ground of the various installations. While the nature and agency of space varies—from social, historical space, leisurely or political space, inner psychological space, to shared empty space—these installations reveal the chiasm between the individual body and the outside space. The chapters bear testimony of the process in which the physical journey of the spectator’s body within a material—at times invisible—space and its structural components takes place in time, as a succession of micro-experiences. ‘Installation art as experience of self, in space and time’ adds to the existing literature of art history a level of theoretical, experiential and transcultural analysis that will make this inquiry relevant to both university students and independent researchers in the academic fields of philosophy, psychology, aesthetics, art theory and history, religious and Asian studies.
Recent innovations in access to technology have led to an explosion in the number and variety of interactive art installations. Art pieces that would have been inconceivable twenty years ago are now popping up in galleries and public spaces around the world, expanding the range of human experience in mind-boggling ways. New Media Installation offers a fascinating look into the world of technology-based art installations, with a global selection of artists and works. Interactive installations respond to the viewer's voice, touch and proximity, while non-interactive pieces create otherworldly objects and environments for viewers to explore from all angles. Gorgeous photographs capture the size and scale of more than ninety installation pieces that combine light, motion, space and code to create singular experiences.
From Ferdinand Chevel's Palais Ideal (1879-1905) and Simon Rodia's Watts Towers (1921-1954) to Ant Farm's Cadillac Ranch (1974) and Richard Serra's Tilted Arc (1981), installation art has continually crossed boundaries, encompassing sculpture, architecture, performance, and visual art. Although unique in its power to transform both the site in which a work is constructed and the viewer's experience of being in a place, installation art has not received the critical attention accorded other art forms. In Space, Site, Intervention, some of today's most prominent art critics, curators, and artists view installation art as a diverse, multifaceted, and international art form that challenges institutional assumptions and narrow conceptual frameworks. The contributors discuss installation in relation to the genealogy of modern art, community and corporate space, multimedia cyberspace, public and private ritual, the gallery and the museum, public and private patronage, and political action. This ambitious volume focuses on issues of class, sexuality, cultural identity rase, and gender, and highlights a wide range of artists whose work is often marginalized by mainstream art history and criticism. Together, the essays in Space, Site, Intervention investigate how installation resonates within modern culture and society, as well as its ongoing influence on contemporary visual culture.
On the history of a pioneering installation-art space Long before it became commonplace, Rice Gallery was one of a handful of spaces in the US devoted to commissioning site-specific installation art. This book documents works by artists including El Anatsui, Shigeru Ban, Tara Donovan, Nicole Eisenman, Yayoi Kusama, Sol LeWitt and Judy Pfaff.
This is the first book-length study of installation art. JulieReiss concentrates on some of the central figures in its emergence,including artists, critics, and curators.
Installation Art in the New Millennium by Nicolas De Oliveira,Nicola Oxley,Michael Petry Pdf
Offers an overview of the transformative nature of installation art over the past decade, including coverage of the work of Doug Aitken, Kazuo Katase, Hans Haacke, Christian Boltanksi, Damien Hirst, Vanessa Beecroft, Gary Hill, Mariko Mori, and Bill Viola
Public Art (Now): Out of Time, Out of Place is the first survey of progressive public art from around the world. It presents some of the most significant artworks in the public realm from the last decade, challenging preconceptions about where, when and how public art takes place. The face of public art is changing. For decades, art in the public realm has been characterized by the landmark sculpture or spectacular outdoor event that helps to define or brand a place. But in recent years, a new wave of international artists and producers has rejected the monumental scale and mass appeal of such artworks. Instead, these individuals and groups favour unconventional forms that unsettle rather than authenticate a place's identity; disrupt rather than embellish a particular location; and contest rather than validate the design and function of public space. Performed interactions, collaborative social movements and small-scale subversive acts are just some of the unorthodox approaches taken by these artists. Their works challenge preconceived ideas about the role of art in place-making as they seek to remake places through radical forms and practices. Public Art (Now): Out of Time, Out of Place presents the artists who have been redefining the practice of public art over the past decade. They directly address the most pressing issues of our time, including the encroachment of corporate concerns on public space, the implications of global migration and the isolation of the individual, and the potential of collective action to share the future of our towns and cities. Some forty key works from around the world are organized into five sections – 'Displacement', 'Intervention', 'Disorientation', 'Occupation' and 'Perpetuation' – with detailed descriptions and dozens of installation and process shots. Interviews and quotes from practitioners, commissioners and commentators reveal the impetus and context for the projects, while the editor's introduction sets out the conceptual, practical and ethical issues raised by the works. Bringing together the most significant artworks in the public realm of the last ten years – from ephemeral interventions to long-term ongoing projects – this dynamic survey is an essential reference for anyone interested in the ideas, issues and impulses behind progressive public art, and an accessible introduction to one of the most vibrant areas of contemporary art.
Installation Art between Image and Stage by Anne Ring Petersen Pdf
Installationskunsten har gået sin sejrsgang verden over, og er her i det 21. århundrede en både vel- og anerkendt bestanddel af samtidskunsten. Med påvirkning fra og udveksling mellem billedkunst på den ene side og performanceteater på den anden befinder installationskunst sig – som bogens titel viser – netop i feltet mellem billede og scene. I Installation Art: Between Image and Stage undersøger Anne Ring Petersen grundstenene for en af nutidens mest udbredte kunstformer. Installationer er – ligesom skulpturer – tredimensionelle formationer eller billeddannelser, men i modsætning til skulpturen er installationen karakteriseret ved at være formet af rum eller rumlige scenografier, som skaber betydning og sanseoplevelser gennem sit billedsprog. Som resultat af dette er installationer ofte stort anlagte kunstværker, som beskueren kan gå ind i, og de lever dermed til fulde op til nutidens krav om spektakulære, æstetisk iscenesatte events og kulturoplevelser, der taler til sanserne. Gennem grundige analyser af værker af kunstnere som Bruce Nauman, Olafur Eliasson, Jeppe Hein, Mona Hatoum, Pipilotti Rist og Ilya Kabakov som bagtæppe søges der i denne bog svar på, hvad en installation egentlig er, hvilke virkemidler den bruger, hvordan installationskunstens opståen kan forklares i et kulturhistorisk perspektiv og meget mere. Også installationskunstens rumlige, tidsmæssige og diskursive aspekter såvel som dens receptionsæstetik, der sættes ind i en overordnet kunst- og kulturhistorisk ramme, undersøges. Installation Art: Between Image and Stage er et nyttigt værk for alle, der ønsker at forstå denne mangefacetterede kunstforms konceptuelle fundament. Anne Ring Petersen, dr.phil., er lektor ved Institut for Kunst og Kulturvidenskab, Københavns Universitet. Har i 2009 udgivetInstallationskunsten mellem billede og scene og er redaktør af Contemporary Painting in Context (2010). Despite its large and growing popularity — to say nothing of its near- ubiquity in the world’s art scenes and international exhibitions of contemporary art — installation art remains a form whose artistic vocabulary and conceptual basis have rarely been subjected to thorough critical examination. In Installation Art: Between Image and Stage, Anne Ring Petersen aims to change that. She begins by exploring how installation art developed into an interdisciplinary genre in the 1960s, and how its intertwining of the visual and the performative has acted as a catalyst for the generation of new artistic phenomena. She investigates how it became one of today's most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where installation's often spectacular appearance ensures that it meets contemporary demands for sense-provoking and immersive cultural experiences. The main trajectory of the book is directed by a movement aimed at addressing a series of basic questions that get at the heart of what installation art is and how it is defined: How does installation structure time, space and representation? How does it address and engage its viewers? And how does it draw in the surrounding world to become part of the work? Featuring the work of such well-known artists as Bruce Nauman, Pipilotti Rist, Ilya Kabakov and many others, this book breaks crucial new ground in understanding the conceptual underpinnings of this multifacious art form. Anne Ring Petersen is associate professor in the Department of Arts and Cultural Studies at the University of Copenhagen and the editor of Contemporary Painting in Context.
Yayoi Kusama: Give Me Love documents the artist's most recent exhibition at David Zwirner, New York, which marked the US debut of The Obliteration Room, an all-white, domestic interior that viewers are invited to cover with dot stickers of various sizes and colors. Widely recognized as one of the most popular artists in the world, Yayoi Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installation, the written word, films, fashion, design, and architectural interventions. Born in 1929 in Matsumoto, Japan, Yayoi Kusama briefly studied painting in Kyoto before moving to New York City in the late 1950s. In the mid-1960s, she established herself in New York as an important avant-garde artist by staging groundbreaking happenings, events, and exhibitions. Now in her late 80s, Kusama is entering one of the richest creative periods of her life. Immersed in her studio six days a week, Kusama has spoken of her renewed dedication to creating art over the past years: “[N]ew ideas come welling up every day….Now I am more keenly aware of the time that remains and more in awe of the vast scope of art.” Taking The Obliteration Room as its centerpiece, this catalogue reveals, in vivid large-scale plates, the transformation of the space from a clean white interior to a stunningly saturated room, with ceilings, walls, and furniture covered in myriad multicolored stickers put there by viewers over the course of the exhibition. The catalogue also includes beautiful reproductions of Kusama's new large-format paintings from My Eternal Soul series. Ranging from bright and densely pixelated forms, to umber figures with darker blues and muted oranges, these paintings demonstrate the artist's striking command of color, and her exceptional control over balance and contrast. Bold brushstrokes hover between figuration and abstraction; vibrant, animated, and intense, these paintings introduce their own powerful pictorial logic, at once contemporary and universal. The catalogue continues with a selection of new, large Pumpkin sculptures, a form that Kusama has been exploring since her studies in Japan in the 1950s, and which gained prominence in the 1980s, continuing to remain an essential part of her practice. Made of shiny stainless steel and featuring painted dots or dot-shaped perforations that recall The Obliteration Room, these immersive works seem created on human scale, with the tallest measuring 70 inches (178 cm). Vibrant plates capture how color, shape, size, and surface merge in these sculptures and mesmerize the viewer. Texts include a "Hymn to Yayoi Kusama" by art critic and poet Akira Tatehata and a poem by the artist herself.
This is an indispensible volume for creators, curators, and conservators of installation art. Installation art is an evolving, often ephemeral medium that defies rigid categorization. It has also radically transformed the concepts of space, time, and the experience of art. The conservation field is faced with unique challenges over how best to manage and preserve the essence of these works. How detailed can documentation get? When does the replacement of original components become acceptable? How does the field cope with the obsolescence of certain technologies? By exploring the questions and dilemmas facing those who care for art installations, this book intends to raise awareness and promote discussion about the various conservation approaches for these works.
Immersive Installation Art by James Patrick Werner,Ólafur Elíasson,James Turrell Pdf
Technological tools available today allow for experiences of "space" to be redefined through virtual spaces in digital venues. Installation artists also create spaces that allow for the interrogation of perception, presenting the virtuality of real space. This study suggests that these types of installation spaces have developed into a genre in fine art today---Immersive Installation Art.
