Installation Art: A Critical HistoryInstallation Art provides both a history and a full critical examination of this challenging area of contemporary art, from 1960 to the present day. Using case studies of significant artists and individual works, Claire Bishop argues that, as installation art requires its audience to physically enter the artwork in order to experience it, installation pieces can be categorised by the type of experience they provide for the viewing subject. As well as exploring the methodologies of the artists examined, Bishop also explains the critical theory that informed their work. While revising and, in some cases, re-assessing many well-known names, this fully illustrated book will introduce the reader to a wide spectrum of younger artists, some yet to receive critical attention. Book jacket. |
From inside the book
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Page 82
... become increasingly familiar . We leave behind a bright white gallery and step into a dark passageway that twists and turns on itself to block out the light . As we fumble for the reassuring presence of a wall to orient us , the ...
... become increasingly familiar . We leave behind a bright white gallery and step into a dark passageway that twists and turns on itself to block out the light . As we fumble for the reassuring presence of a wall to orient us , the ...
Page 97
... become increasingly religious , often deriving from or suggesting paintings , and the work is ever more slick and populist , employing the latest plasma screens and special effects . In Five Angels for the Millenium 2001 , a vast dark ...
... become increasingly religious , often deriving from or suggesting paintings , and the work is ever more slick and populist , employing the latest plasma screens and special effects . In Five Angels for the Millenium 2001 , a vast dark ...
Page 123
... become interactive with what I do ; I do not want to activate the public . I want to give of myself , to engage myself to such a degree that viewers confronted with the work can take part and become involved , but not as actors.49 ...
... become interactive with what I do ; I do not want to activate the public . I want to give of myself , to engage myself to such a degree that viewers confronted with the work can take part and become involved , but not as actors.49 ...
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 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 Gregor Schneider 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 Marcel Broodthaers Meireles Merleau-Ponty Michael Minimalism Minimalist sculpture mirror Museum objects op.cit painting Parangolés participation Paul Thek perceiving performance perspective physical 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