Claire Bishop is an art historian and critic based in London. In her article she focuses on the issue of how the plainness of art works drew attention to the space in which they were shown, which gave rise to a direct engagement with this space as a work in itself. She explains that since the time that this had happened the distinction between installation art and an installation of works of art has become blurred. She states that both point to a desire to heighten the viewer's awareness of how objects are positioned (installed) in a space, and of our response to that arrangement. Claire also claims that there are important differences.
Different artists go for different concepts, some might make an installation mainly for the object itself otherwise might make an installation that is set in a specific environment to complement the art work. Either way artists make the visitor feel aware of the space they are in but placing more emphasis on the viewer's active participation to generate the meaning of the work. The variety of works demonstrated over the years by different artist show that installation art means many things. But, their values concern a desire to activate the viewer - as opposed to the passivity of mass-media consumption - and to induce a critical vigilance towards the environments in which we find ourselves. Claire however states that other artist have turned installation art into a branch of interior design and one could argue that once a person enters a decorated room, their sense of feeling is totally changed as if they where just supposed to enter a plain room.
Claire states that the best installation art is marked by a sense of opposition towards its environment, a friction with its context that resists organizational pressure and instead exerts its own terms of engagement.
Monday, March 19, 2007
Incident Report
Christopher Coleman, an installation artist, talks about his work as a way of conveying different incidental reports in the form of art. He states that art to him is a question that will make you ask yourself why. Presenting four of his works Collusion, Spatiodynamic (illusion), Modern Times and Projects in Horizon (which he is still working on), Christopher explained the ideas behind his art pieces and what exactly he was trying to represent and show to the outside world.
His first work COLLUSION was an installation of a video of factories polluting the air with smoke but in reverse effect (sucking in all the smoke from the air instead of putting it out there). Christopher indicates that in its original location, the piece is 15feet wide, bigger than a human head and projects for 20 minutes. He states that his idea had to do with the disappearing of hope and the subject itself. The real meaning of collusion is when you are secretly colliding with someone or something else. Christopher explains that we all are playing a big part in everything we are trying to condemn and that we are all secret collaborators. I related to this piece because there were moment were I thought that the pipes were going to suck all the smoke from the air but then it would start again. The sound effect that went along with it was truly amazing. It was the sound of someone breathing underwater or in tank or even in a hospital bed, it gave it more meaning and conveyed an effect that seem like someone is struggling to breathe which is kind of the after effect of pollution.
The second piece ILLUSION dealt with the manipulation of the human eye with space and time. The project (illusion) was created when there was a person present. One thing I liked about it was that it looked never ending but it was actually controlled by the looks of people and the data was created by a person. The third piece, MORDERN TIMES showed the fear and terror that is created by information. Christopher states that the government is one of the organizations that does very well by making or keeping people scared and once a person is scared they will demand security from those very people that ask them to be scared. In this piece he shows the fear that people have of everyday things which we tend to terrorize so that nothing bad would happen. The last art work he showed, which is still under constructed, is called MODE. Christopher claims that the world is constructed by people and we are artificially divided simply by invisible walls. He states that these walls are created just so that one may maintain power in a certain way. His whole idea behind this project is the analyzing of vectors of progress and power, the questioning of management of style and structure and the reassessment of safety currently in place.
Overall, I think that Christopher Coleman’s installation art works were interesting.
His first work COLLUSION was an installation of a video of factories polluting the air with smoke but in reverse effect (sucking in all the smoke from the air instead of putting it out there). Christopher indicates that in its original location, the piece is 15feet wide, bigger than a human head and projects for 20 minutes. He states that his idea had to do with the disappearing of hope and the subject itself. The real meaning of collusion is when you are secretly colliding with someone or something else. Christopher explains that we all are playing a big part in everything we are trying to condemn and that we are all secret collaborators. I related to this piece because there were moment were I thought that the pipes were going to suck all the smoke from the air but then it would start again. The sound effect that went along with it was truly amazing. It was the sound of someone breathing underwater or in tank or even in a hospital bed, it gave it more meaning and conveyed an effect that seem like someone is struggling to breathe which is kind of the after effect of pollution.
The second piece ILLUSION dealt with the manipulation of the human eye with space and time. The project (illusion) was created when there was a person present. One thing I liked about it was that it looked never ending but it was actually controlled by the looks of people and the data was created by a person. The third piece, MORDERN TIMES showed the fear and terror that is created by information. Christopher states that the government is one of the organizations that does very well by making or keeping people scared and once a person is scared they will demand security from those very people that ask them to be scared. In this piece he shows the fear that people have of everyday things which we tend to terrorize so that nothing bad would happen. The last art work he showed, which is still under constructed, is called MODE. Christopher claims that the world is constructed by people and we are artificially divided simply by invisible walls. He states that these walls are created just so that one may maintain power in a certain way. His whole idea behind this project is the analyzing of vectors of progress and power, the questioning of management of style and structure and the reassessment of safety currently in place.
Overall, I think that Christopher Coleman’s installation art works were interesting.
Installation Art
The fundamental definition is the creation of a work of art that one can only walk into.
Installation art came to the fore in the 1990s as a major movement in postmodern art. It took over the lead from the previously dominant style of postmodern appropriation according to commentaries (Clare Bishop) on contemporary installation art.
There has been argument about what should be considered or not considered as installation art. To some artist what is being referred to as installation art is primarily ‘expanded sculpture’.
There has always been arguments about installation art and why two-dimensional video art should not be referred to as installation. According to Clare Bishop, who makes references about flat screen art captivating the viewer by means of narrative immersion, explains three fundamental features in her comprehensive historical analysis of installation art. First, the aspiration to create a more direct involvement between the viewer and the work of art; second, the observation that installation art presents the viewer with fragments that must be explored and assembled in a manner that ‘activates’ the viewer; and, third, the expanded sculptural tactic of deconstructing the traditional concept of the precious work of art via the use of found objects and materials.
Holler Test Site by Jonny Bake 2006
I like this installation art because it does not only connect the viewer with the piece but also allows them to participate and become one with it. In order for the art work to be complete there must be a participant, in this case the viewer, to create the full definition of installation and to convey the whole idea behind it.
Installation art came to the fore in the 1990s as a major movement in postmodern art. It took over the lead from the previously dominant style of postmodern appropriation according to commentaries (Clare Bishop) on contemporary installation art.
There has been argument about what should be considered or not considered as installation art. To some artist what is being referred to as installation art is primarily ‘expanded sculpture’.
There has always been arguments about installation art and why two-dimensional video art should not be referred to as installation. According to Clare Bishop, who makes references about flat screen art captivating the viewer by means of narrative immersion, explains three fundamental features in her comprehensive historical analysis of installation art. First, the aspiration to create a more direct involvement between the viewer and the work of art; second, the observation that installation art presents the viewer with fragments that must be explored and assembled in a manner that ‘activates’ the viewer; and, third, the expanded sculptural tactic of deconstructing the traditional concept of the precious work of art via the use of found objects and materials.
Holler Test Site by Jonny Bake 2006I like this installation art because it does not only connect the viewer with the piece but also allows them to participate and become one with it. In order for the art work to be complete there must be a participant, in this case the viewer, to create the full definition of installation and to convey the whole idea behind it.
Wednesday, March 7, 2007
The Evil Eye
After reading about the Jasper John and Robert Rauschenberg, two gay artists that had been partners for a while. My views about queer relationships become more unambiguous. I got motivated and decided to build an artistic piece that would represent both worlds.
The Evil Eye centers around the notion that certain people have the ability to cause harm or to destroy one's sexual power. In nowadays society, the Evil Eye represents anything perceived to be out of the ordinary, out of the defined values and norms of one’s society.
I believe that our ideas, beliefs and way of seeing life should not be shaped by society. One should always have the right to express his or hers beliefs.
YOU ARE WHAT YOU EAT!
My ideas are all based on the fact that what if we were man made objects, what if the very own things that we create are replicas of ourselves.
My wearable body alteration; consist of a trash hanging from different areas and parts of my body. The main idea of my project was to put across to the public eye that YOU ARE WHAT YOU EAT and it is what defines you as an individual and as a human being.
When I first had my wearable object on, I thought it would have been an easy concept that would easily be understood by people. As I walked to my desirable location, a random dead garden, which I had found out to be amazing for my project, I came across different people young and old who thought I was a trash collector.
I chose the garden as my desirable location because I wanted it to represent the inside of my body. Since the garden is dead at this time, I decided to use the opportunity to show how eating process food kills and damages the insides of a human body.
My wearable body alteration; consist of a trash hanging from different areas and parts of my body. The main idea of my project was to put across to the public eye that YOU ARE WHAT YOU EAT and it is what defines you as an individual and as a human being.
When I first had my wearable object on, I thought it would have been an easy concept that would easily be understood by people. As I walked to my desirable location, a random dead garden, which I had found out to be amazing for my project, I came across different people young and old who thought I was a trash collector.
I chose the garden as my desirable location because I wanted it to represent the inside of my body. Since the garden is dead at this time, I decided to use the opportunity to show how eating process food kills and damages the insides of a human body.
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