Installation ArtWhat has been loosely termed installation Art dominates the exhibition programmes of galleries worldwide. However, while it is much discussed it has rarely been clearly defined. In this book author Claire Bishop provides both a history and a full critical examination of installation art, in a survey of the form that is both thorough and accessible. Installation Art will provide, for the first time, a clear account of the rise of this now prevalent strand of contemporary art. While revising and, in some cases, re-assessing many well-known names in post-1960 art, it will also introduce the audience to a wider spectrum of younger artists yet to receive serious critical attention. |
From inside the book
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Page 32
... institutions in which art was shown , and became known as ' institutional critique ' . Vastly differing formal strategies were grouped under this label . From 1965 onwards , for example , the French artist Daniel Buren ( b.1938 ) began ...
... institutions in which art was shown , and became known as ' institutional critique ' . Vastly differing formal strategies were grouped under this label . From 1965 onwards , for example , the French artist Daniel Buren ( b.1938 ) began ...
Page 35
... institutional display , these artists imply , is always already interpretation . As Dion notes , the museum tells a narrative ' through a very particular type of representation : for it is both the thing itself and a representation of ...
... institutional display , these artists imply , is always already interpretation . As Dion notes , the museum tells a narrative ' through a very particular type of representation : for it is both the thing itself and a representation of ...
Page 59
... institutional mainstream : ' In this work I was dealing with air as an elementary material of unlimited presence and availability , as opposed to visually determined elements . I intervened therefore to structure this material , given ...
... institutional mainstream : ' In this work I was dealing with air as an elementary material of unlimited presence and availability , as opposed to visually determined elements . I intervened therefore to structure this material , given ...
Contents
Installation art and experience | 6 |
The dream scene | 14 |
Heightened perception | 48 |
Copyright | |
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Common terms and phrases
activated spectatorship argued art's Artforum artists Asher Barthes become Beuys's body Bourriaud Broodthaers Bruce Nauman Cardiff Carsten Höller centred chapter cinema colour consciousness contemporary art corridor Courtesy critical culture Dan Graham darkness decentred destabilise discussed Documenta El Lissitzky Eliasson experience Felix Gonzalez-Torres film first-hand fragmented Freud gallery space Graham Group Material heightened Hélio Oiticica history of installation Höller Ibid idea ideology immediacy immersive individual inside installation art institutional James Turrell Joseph Beuys Kabakov Kaprow Krauss Kurt Schwitters Kusama Lacan Laclau light Lissitzky literal London Marcel Broodthaers Meireles Merleau-Ponty Michael Minimalism Minimalist sculpture mirror Museum objects op.cit painting Parangolés participation Paul Thek perceiving performance perspective physical piece political present reflected relational aesthetics relationship Rirkrit Tiravanija screen sense sensory social sculpture spectator structure Surrealist Exhibition Thomas Hirschhorn Tiravanija total installation type of installation Untitled viewer viewing subject visitors Vito Acconci walls Whitechapel York