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.
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