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Installation Art: Intro
Transcript of Installation Art: Intro
"The Weather Project"
Tate Modern, London
2003-2004 Definition points:
art into which the viewer physically enters, & which is often described as 'theatrical', 'immersive', or 'experiential'.
addresses the viewer directly as a literal presence in the space
senses of touch, smell & sound are as heightened as sense of vision http://trip.samyeates.com/images/tm-sun2.jpg Questions Who is the spectator of installation art?
What kind of 'participation' does he or she have in the work?
Why is installation at pains to emphasize first-hand 'experience', and what kinds of 'experience' does it offer? Olafur Eliasson
"The Weather Project"
Tate Modern, London
2003-2004 https://lh5.googleusercontent.com/-amhmaOz_Zz8/TXVF1N7favI/AAAAAAAAAsE/ndwqSri91Fk/nelson_cosmic.jpg Mike Nelson
"The Cosmic Legend of the Uroboros Serpent"
2001-2002 Influences: architecture, cinema, performance art, sculpture, theatre, set design, curating, Land art and painting HISTORY El Lissitzky
(reconstructed 1971) http://1.bp.blogspot.com/-cCFElNaOUo4/Ttkn_8HJDKI/AAAAAAAAASA/aH-TsGt6aR0/s1600/proun.jpg an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich Proto-installation http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/images/orchard_fig1a.jpg Kurt Schwitters
Hanover, 1933 Schwitters' built his constructions into his residences incorporating rooms he lived in into the structure. The ceilings and walls were covered with three dimensional shapes and countless nooks and grottos were filed with a variety of objects -- "spoils and relics" (personal items Schwitters stole from friends and acquaintances). http://www.e-flux.com/journal_images/12360892572_1938-coal-bags.jpg Marcel Duchamp
"Twelve Hundred Coal Bags Suspended from the Ceiling over a Stove"
(part of his installation for the Exposition Internationale du Surréalisme, Paris) http://1.bp.blogspot.com/_kX8H-5jDbYk/St5e4pgSOrI/AAAAAAAABRs/bEevNh6TIEc/s640/duchamp_large.jpg Marcel Duchamp
"sixteen miles of string,"
of the late 1950's (they wanted to move
away from the galleries) In the winter of 1961, Claes Oldenburg circumvented the practice of selling art through a gallery by opening a storefront on the Lower East Side of Manhattan and selling his work there. Among the unorthodox, eclectic offerings were sculptures of undergarments and slices of blueberry pie and other pastries made out of painted plaster. To advertise this bold endeavor, Oldenburg created business cards and stationery as well as posters such as the one on view here. Modeled after a poster the artist saw in a Puerto Rican neighborhood of New York, it retains a few Spanish words. A milestone of Pop art, The Store heralded Oldenburg’s interest in the slippery line between art and commodity and the role of the artist in self-promotion. http://www.moma.org/collection_images/resized/452/w500h420/CRI_63452.jpg http://plazalondon.files.wordpress.com/2011/01/oldenburg-store-cakes.jpg http://1.bp.blogspot.com/_hoGizCI1FwY/TCE6mHKR0NI/AAAAAAAAAh0/9hmH8vJH7q4/s1600/allan_kaprow+Household,+women+licking+jam+off+of+a+car+1964.jpg Allan Kaprow, "Household Women
licking Jam off of a Car" (1964) Allan Kaprow
1962 a rearrangeable environment with light and sounds, in which visitors could select words pre-painted on white sheets of paper and hang them around the room to form phrases http://dreher.netzliteratur.net/1_Kaprow_vs_Morris_B4.jpg minimalist sculpture of the 1960's http://www.neiu.edu/~wbsieger/Art201/201SG/2Sg201/2Sg201fs/c1014.jpg Robert Morris, "Untitled (L-beams)" 1965 the work heightens our awareness of the relationship between itself and the space in which it is shown http://www.rasa.net/courses/classprep/intermedia/images/irwin,%20robert/IRWIN.BLACKLINEVOLUME.jpg Robert Irwin, "Black Line Volume" 1975 the work throws our attention back onto our process of perceiving it - the size and weight of our body as it circumnavigates the sculpture. Hayday: 1970's-1980's Watch Vito Acconci's
"Seed Bed" 1972 http://www.theslideprojector.com/images/art1/chapter11-politicsandpostmodernism/seedbed.jpg http://4.bp.blogspot.com/-hhh_ewNveZM/TcWuWj6Fl8I/AAAAAAAAAG4/aD18XEIm5s8/s1600/bruce-nauman-green-light-corridor-1970.jpg Bruce Nauman
"Green Light Corridor"
1970-1 http://www.geocities.jp/etsuji_suzuki/museum/spain/art_contemporani/P1040257.JPG Dan Graham, "Public Space/Two Audiences" 1976 http://static.guim.co.uk/Guardian/artanddesign/gallery/2008/oct/13/tate-modern-turbine-hall-art/turbine1-6375.jpg Dominique Gonzalez-Foerste, Turbine hall 2007 1990's - Present
spectacular installations that fill large museums such as the Guggenheim in NYC and the Turbine Hall at the Tate Modern. Anish Kapoor
installation view, Tate Modern Turbine Hall http://www.designboom.com/weblog/images/images_2/andrea/maurizio_cattelan/all01.jpg Maurizio Cattelan, "All" at the Guggenheim Museum, 2011-12 Kaprow insisted on flux, change & disorder. Seedbed brought the sensationalism of more explicit performance art by women into an anti-expressive Minimalist installation http://nooan.org/blog/wp-content/uploads/2010/05/2546181208_e0c366803f_o.jpg Shigeko Kubota performing
"Vagina Painting" (1965) Carolee Schneemann "Meat Joy" 1964 at Judson Church New York Lissitzky argues that 'space does not exist for the eye only: it is not a picture; one wants to live in it' He used mirrors & video feedback to stage perceptual experiments for the viewer.
They demonstrate how our awareness of the world is dependant on interaction with others.