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1
MANRESA, GEMMA ARGÜELLO, and ELISA CALDAROLA. "Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 331–32. http://dx.doi.org/10.1111/jaac.12747.
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Bestor, Charles. "Installation art." ACM SIGGRAPH Computer Graphics 37, no. 1 (February 2003): 16–18. http://dx.doi.org/10.1145/763993.763994.
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Vickery, Jonathan. "INSTALLATION ART." Art History 29, no. 5 (November 2006): 957–63. http://dx.doi.org/10.1111/j.1467-8365.2006.00528_7.x.
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Rios, Patricia, and Aquiles Negrete. "The object of art in science: science communication via art installation." Journal of Science Communication 12, no. 03 (December 11, 2013): A04. http://dx.doi.org/10.22323/2.12030204.
Повний текст джерелаАнотація:
Science is part of our everyday live; so is art. Some art installations that link the two require the active presence of the spectator. Thereby they help to raise the awareness, promote understanding, and generate an emotional response from the public. This project rests on the public participation model that seeks to explore the connection between art installations and science communication through experiential learning. In order to test the effectiveness of an art installation communicating science two groups were contrasted. The first was exposed to a list of scientific facts; the second participated in the creation of an art installation. The results of this research suggest that art installations do promote long-term fact retention. Therefore, the use of art installations can be considered an interesting method of conveying science in an attractive, reliable, and memorable way.
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Petrenko, Dmitry. "INSTALLATION ART IN THEUKRAINIAN VISUAL CULTUREOF THE BEGINNING OF THE ХХІ CENTURY". Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", № 66 (28 грудня 2022): 16–22. http://dx.doi.org/10.26565/2306-6687-2022-66-02.
Повний текст джерелаАнотація:
The article considers Ukrainian installation art. Artistic practices of installation represent one of the most interesting trends in world visual culture, which actively developed during the second half of the ХХ century and at the beginning of the ХХІ century. Installation is a relevant form of modern art, as it is focused on space and thus corresponds to an important guideline of modern culture — the spatial turn. It is proposed to consider the theory of installation by C. Bishop, according to which four types of installation can be distinguished: a phenomenological installation, de-subjectivizing installation, political installation, as well as a semiotic dream installation. According to Bishop's classification, the majority of Ukrainian art projects created in the installation technique are close to the semiotic dream installation. Ukrainian installation artists bring work with cultural meanings to the fore, rather than perceptual experience or anthropological experiments. There are several central figures in the Ukrainian art scene who create installations and present various artistic strategies in their projects. Through installation art, artist M. Kadan addresses the understanding of the Soviet past and its presence in the current experience of Ukrainian culture. Art meets research here. The artist refers to the cultural layers of the past to make sense of them outside the ideologemes of Soviet propaganda and reveal the “paresis of things” to the audience. The works by artist S. Petliuk develop the trend of media installation. Media technologies are actively used in the works of this trend. In his media installations, Petliuk deconstructs social and political ideologues, conducts “archaeological” explorations of modern urban space, addresses the question of comprehending war traumas, etc. Special attention is paid to the influence of the video installation on modern Ukrainian cinematography. The work of artist and film director I. Podolchak, who integrates the artistic principles of installation into his cinematographic works, is considered. An important trend of Ukrainian installation art is represented by the work of artist P. Makov. Makov's projects balance on the border between the culture of meaning and the culture of presence by filling his installation projects with deep cultural and political senses. It is determined that Ukrainian installation art combines the traditions of Ukrainian visual culture and innovative artistic practices and is an important component of the world artistic culture of the beginning of the ХХІ century.
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Chemberzhi, Daria. "The importance of installation art for the development of contemporary art in the world and Ukraine." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.
Повний текст джерелаАнотація:
Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes
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Lilin, You. "The Feminist Installation Art in Modern China." Vestnik of Saint Petersburg State University of Culture, no. 1 (58) (2024): 129–35. http://dx.doi.org/10.30725/2619-0303-2024-1-129-135.
Повний текст джерелаАнотація:
Feminist installation art in contemporary China is one of the most dynamic and controversial trends in Chinese contemporary art. It reflects the complex processes of social, political and cultural transformation that have been taking place in China in recent decades. Feminist installations express critical attitudes towards traditional gender roles, national identity, environmental issues and globalization. However, feminist installation art in contemporary China has not received sufficient scholarly coverage and analysis in domestic and foreign literature. Existing studies are often limited to describing individual works or female artists without considering the historical, cultural, and social contexts in which this trend is formed and developed. In addition, many feminist installations have a complex semiotic structure that requires a deep and multidimensional interpretive approach. The expected outcome of the article is a comprehensive and multilevel study of feminist installation art in contemporary China, which will allow for a better understanding and appreciation of its significance.
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Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 55. http://dx.doi.org/10.25038/am.v0i12.167.
Повний текст джерелаАнотація:
The subject of this research is the art installation, a spatial creativity that arises in relation between art and architecture. In a more narrow definition, the subject of the research is installations created in the formative period of the 60s and 70s up to the present. As a ‘critical spatial practice’ art installations are conceived in the form of alternative proposals for settlements which enter the field of architectural design. Ideas concerning new sets of relations between the subject and a spatial order indicate the potential of the use of the concept of art installations in architectural design. The initial hypothesis is that art installations represent the articulation of a place of dialogue between art and architecture, which opens up a new field of research in architectural design. The aim of the research is to show the position of art installations as architectural projects. The applied methodological procedures approach architectural design in a manner of synthesizing the architecture and art in a new form of visual culture. The paper deals with the study of artistic concepts in terms of design, which emphasizes the importance of an interdisciplinary approach to research and the importance of integrating the principles of art in the field of architectural design. The main contribution of this paper is reflected in the expansion of the problem and thematic framework of research on architectural design, contemporary art and their relation. Article received: December 21, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies 12 (2017): 55-70
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Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (October 2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.
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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.
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CALDAROLA, ELISA. "On Experiencing Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 339–44. http://dx.doi.org/10.1111/jaac.12734.
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Mandlis, Lane R. "Art Installation as Method." Qualitative Inquiry 15, no. 8 (July 7, 2009): 1352–72. http://dx.doi.org/10.1177/1077800409339568.
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Cuan, Catie, Erin Berl, and Amy LaViers. "Time to compile: A performance installation as human-robot interaction study examining self-evaluation and perceived control." Paladyn, Journal of Behavioral Robotics 10, no. 1 (August 28, 2019): 267–85. http://dx.doi.org/10.1515/pjbr-2019-0024.
Повний текст джерелаАнотація:
AbstractEmbodied art installations embed interactive elements within theatrical contexts and allow participating audience members to experience art in an active, kinesthetic manner. These experiences can exemplify, probe, or question how humans think about objects, each other, and themselves. This paper presents work using installations to explore human perceptions of robot and human capabilities. The paper documents an installation, developed over several months and activated at distinct venues, where user studies were conducted in parallel to a robotic art installation. A set of best practices for successful collection of data over the course of these trials is developed. Results of the studies are presented, giving insight into human opinions of a variety of natural and artificial systems. In particular, after experiencing the art installation, participants were more likely to attribute action of distinct system elements to non-human entities. Post treatment survey responses revealed a direct relationship between predicted difficulty and perceived success. Qualitative responses give insight into viewers’ experiences watching human performers alongside technologies. This work lays a framework for measuring human perceptions of humanoid systems – and factors that influence the perception of whether a natural or artificial agent is controlling a given movement behavior – inside robotic art installations.
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Abdullah, Sarena, and Carmen Nge Siew Mun. "Spaces of Experimentation and Collaboration in Early 1990s Malaysian Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 6, no. 2 (October 2022): 47–75. http://dx.doi.org/10.56159/sen.2022.a871491.
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Abstract: At the zenith of the Mahathir era, amidst the economic boom and rapid development of the early 1990s, Malaysian art exhibitions were charting a novel path in the arena of installation and performance art. This paper will closely examine three seminal installation art exhibitions, namely Sook Ching (1990), 2 Installations (1991), and Warbox Lalang Killing Tools (1994), where some of the artists involved chose to perform and/or collaborate with dancers and theatre makers, culminating in some of the earliest experiments with performance art in Malaysia. What sets them apart from other installation exhibitions of that period is their use of performance as a tool to confront, unsettle, and challenge audiences in institutional spaces, thereby opening up new possibilities for experimentation and risk-taking.
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Cao, Yuan, Zhi Han, Rui Kong, Canlin Zhang, and Qiu Xie. "Technical Composition and Creation of Interactive Installation Art Works under the Background of Artificial Intelligence." Mathematical Problems in Engineering 2021 (September 25, 2021): 1–11. http://dx.doi.org/10.1155/2021/7227416.
Повний текст джерелаАнотація:
Interactive installation art is a kind of art that uses specific software and computer hardware as a platform, a platform for interaction between humans and machines or different people through computer hardware. It is an interactive art that uses material installations in nature as a medium. Traditional interactive installation art is not safe and convenient, in order to solve the shortcomings of traditional interactive installation art. This article introduces artificial intelligence technology by studying the overview, development, and application of artificial intelligence. The encryption algorithm for artificial intelligence data protection and the BP neural network prediction model under artificial intelligence are also introduced to ensure the safety of interactive installation art works. The part also introduces the creation tools and creation process of interactive installation art works. Finally, in the analysis part, a questionnaire analysis of the World Expo is carried out. The results of this article show that the art of connecting inserts is the most complete and open design era. Advances in science and technology, the development of digital art, and the needs of human life have led to the development of interconnected input technologies. In addition, in the survey of people’s satisfaction with artificial intelligence, we can conclude that 89% of people think that the security of artificial intelligence technology is very high. Yes, 92% of people think that artificial intelligence technology has a fast computing speed, 86% of people think that artificial intelligence technology is low in cost.
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Bouzguenda, Ghada. "Eco-Public Installation Through Landscape Architecture for Sustainability in the Urban Space." International Journal of Architecture, Arts and Applications 10, no. 2 (June 29, 2024): 60–68. http://dx.doi.org/10.11648/j.ijaaa.20241002.14.
Повний текст джерелаАнотація:
Sustainable art in landscape architecture encompasses activities like installing works of art that are durable, functional, decorative, iconographic, interpretative, integrated, ephemeral, or temporary. Projects of sustainable installation in landscape architecture have highlighted the contributions of public arts in social, cultural, and economic aspects. Studying the environmental impacts of public art in cities is still lacking. The purpose of this article is to highlight the contribution of eco-art in urban space to the development of sustainable cities, through the exam of a selection of sustainable installation from the word. Therefore, peer-reviewed articles and online resources were used to analyze sustainability, awareness, and environmental values associated with eco-public art and sustainable installations in order to inspire other directions, such as a dialogue between art and the public, landscape architecture, and environmental sustainability through public art. Despite landscape architecture studies are often focused on sustainability; however, there is little research on how to create durable installations through the synergy between art, design, and architecture. Based on the analysis of selected projects using a combination between art, design, and architecture concepts, to create an eco-installation in the urban space, it was highlighted that, during the early phases of promoting the green city concept, Eco-Public Art promotes visual support, tools, and the form of knowledge. All the analyzed sustainable projects were developed to demonstrate the best approach to public art because of their attitude and behavior toward the major issues.
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Sui, Guanglong, and Boonsom Yodmalee. "Exploring the Educational Potential of Immersive New Media Art in Urban Commercial Spaces in Dalian City, Liaoning Province, China." Journal of Education and Learning 13, no. 1 (January 20, 2024): 189. http://dx.doi.org/10.5539/jel.v13n1p189.
Повний текст джерелаАнотація:
Contemporary Chinese art has witnessed a transformative evolution in the realm of installation art, particularly in the context of immersive new media installations within urban commercial spaces. This study explores the educational potential of immersive new media art in urban commercial spaces in Dalian City, Liaoning Province, China. The research journey spans various stages of Dalian’s installation art development, from its early emergence in the 1980s to the prosperous period in the 1990s and its diversification in the 21st century. Key themes explored include the evolution of artistic expression, the impact on education, and the integration of new media in urban commercial spaces. The research site primarily focuses on Dalian’s cultural and commercial landscapes, with a spotlight on the Xiongdong Street project. The study employs a qualitative research methodology, combining field research, interviews, multimedia elements, and data analysis to offer comprehensive insights into the subject matter. Key informants include artists, scholars, and experts within the field of installation art. The research results reveal the dynamic evolution of Dalian’s installation art, its educational significance, and its integration into urban commercial spaces. The study suggests that immersive new media art has the potential to enrich art education, engage the public, and foster cultural and commercial development.
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Smart, Jennifer. "Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art." AMP: American Music Perspectives 2, no. 2 (December 2021): 171–83. http://dx.doi.org/10.5325/ampamermusipers.2.2.0171.
Повний текст джерелаАнотація:
ABSTRACT Marina Rosenfeld’s artistic practice is guided by the questions of what (and where) music can or should be. Over the last three decades, the artist and composer has explored these questions through both large-scale performances and intimate multimedia gallery installations, which, as she describes it, are invested in “acoustic architectures and experimental forms of sociality.” This article focuses on Rosenfeld’s gallery installations to consider the ways in which her multimedia work transforms the art gallery into a performative space. By closely attending to the materiality of Rosenfeld’s visual and sonic objects in a recent exhibition, this article explores the manner in which sound-based installation art affords an opportunity to grasp music’s dispersed object-hood as it circulates through and across materials, feelings, and spaces. The author argues that Rosenfeld’s installation practice reveals both music and sonic experience more broadly to be a multimedia, collaborative activity, and affords an opportunity to, in the words of Will Straw, trace the inescapable manner in which sound’s “technologies and assemblages” contribute to its shared social “meaning, affect, and memory.”
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Weingarden, Lauren S. "The performative turn at Inhotim: installation art and Baudelairean modernity." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 13–30. http://dx.doi.org/10.17851/2317-2096.23.3.13-30.
Повний текст джерелаАнотація:
This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.
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CARRUTHERS, VICKI. "INSTALLATION ART A CRITICAL HISTORY." Art Book 13, no. 2 (May 2006): 41–42. http://dx.doi.org/10.1111/j.1467-8357.2006.00671.x.
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Gay, Pamela. "Installation art: actual meets virtual." Digital Creativity 12, no. 4 (December 2001): 229–35. http://dx.doi.org/10.1076/digc.12.4.229.3217.
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Kent, Charlotte. "Installation Art in Virtual Reality." Digital Culture & Society 8, no. 1 (December 1, 2022): 117–40. http://dx.doi.org/10.14361/dcs-2022-0107.
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Kent, Charlotte. "Installation Art in Virtual Reality." Digital Culture & Society 8, no. 1 (December 1, 2022): 117–40. http://dx.doi.org/10.14361/dcs-2022-080107.
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Basanta, Adam. "Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations." Organised Sound 20, no. 2 (July 7, 2015): 171–81. http://dx.doi.org/10.1017/s1355771815000059.
Повний текст джерелаАнотація:
Sound and media installations are rarely considered from a time-based, formal perspective. In order to enable a greater understanding of temporal form in sound installations, I suggest a cross-disciplinary adaptation of musical form to the installation context. Due to the differences between concert and installation presentation practices – including, but not limited to, the increased agency of the mobile visitor – I re-examine form in installation contexts as the particular temporal experience co-produced by the first-person subject as they navigate in, through and out of the work’s frame. By applying this musical perspective to macro-scale formal structures, a set of tools and concepts become available for the analysis of temporal form in existing sound or audiovisual installations. Using practice-based observation and analysis, I describe several compositional strategies through which musical concepts of material and form can be extended in space and time: each of these strategies provides means with which to shape or constrain the visitor’s co-production of experiential form. Finally, I discuss several strategies that can be used for the creation of large-scale form, with particular reference to algorithmic design principles used in my recent audiovisual installation, Room Dynamics.
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Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.
Повний текст джерелаАнотація:
Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.
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Chen, Xiaowei, and Zainuddin Ibrahim. "A Comprehensive Study of Emotional Responses in AI-Enhanced Interactive Installation Art." Sustainability 15, no. 22 (November 10, 2023): 15830. http://dx.doi.org/10.3390/su152215830.
Повний текст джерелаАнотація:
This study presents a comprehensive literature review on the convergence of affective computing, interactive installation art, multi-dimensional sensory stimulation, and artificial intelligence (AI) in measuring emotional responses, demonstrating the potential of artificial intelligence in emotion recognition as a tool for sustainable development. It addresses the problem of understanding emotional response and measurement in the context of interactive installation art under artificial intelligence (AI), emphasizing sustainability as a key factor. The study aims to fill the existing research gaps by examining three key aspects: sensory stimulation, multi-dimensional interactions, and engagement, which have been identified as significant contributors to profound emotional responses in interactive installation art. The proposed approach involves conducting a process analysis of emotional responses to interactive installation art, aiming to develop a conceptual framework that explores the variables influencing emotional responses. This study formulates hypotheses that make specific predictions about the relationships between sensory stimulation, multi-dimensional interactions, engagement, and emotional responses. By employing the ASSURE model combined with experimental design, the research methodology ensures a systematic and comprehensive study implementation. The implications of this project lie in advancing the understanding of emotional experiences in interactive installation art under AI, providing insights into the underlying mechanisms that drive these experiences, and their influence on individual well-being from a sustainable perspective. The contributions of this research include bridging the identified research gaps, refining theoretical frameworks, and guiding the design of more impactful and emotionally resonant interactive artworks with sustainability in mind. This research seeks not only to fill the existing gaps in understanding emotional experiences in interactive installation art, but also to guide the development of immersive and emotionally engaging installations, ultimately advancing the broader field of human–computer interaction, promoting individual well-being, and contribute to sustainable development.
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Buț, Georgiana. "Merging Art and Installation: Exhibition Installation in the 20th Century." Studia Universitatis Babeș-Bolyai Philosophia 64, no. 1 (April 1, 2019): 35–62. http://dx.doi.org/10.24193/subbphil.2019.1.03.
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Bahtsetzis, Sotirios. "Deleuze’s meta-cinematic framing: Multimodal meaning-making in Installation Art." Punctum. International Journal of Semiotics 08, no. 02 (2022): 11–31. http://dx.doi.org/10.18680/hss.2022.0014.
Повний текст джерелаАнотація:
The article discusses multimodal meaning-making in the context of video and multi-media installation art and related curatorial practices. It draws on the Deleuzian concept of pure duration or ‘time-image,’ understood as a Foucauldian dispositive (Panagia) and, thus, as a broader heuristic device in discussing the viewer’s experience engulfed in installations. It discusses non-discursive aspects of meaning-making while focusing on the viewer/ participant’s subjectifying, multi-sensorial, kinaesthetic, performative, and time-based experience of an exhibition. We discuss installation art as a temporal situation, constructed on the difference between represented or narrated time and subjective or reception time (Petersen), following the phenomenological category of the artwork as a ‘temporal object’ (Ingarden). The paper aims to offer novel interpretive tools for investigating our current shifting sensorium engaged in meaning-making. It also maintains that installation art constitutes not only a compelling cultural strategy for “imagining and imaging the world” (Rodowick) but also the means to understand how modes of perception converge in producing subjectivity.
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Dwi Kartika, I. Gusti Kade, I. Wayan Karja, and I. Wayan Mudana. "Exploration of FSRD-ISI Denpasar Garden In Installation Art." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 1 (April 19, 2022): 61–68. http://dx.doi.org/10.59997/citakara.v2i1.1543.
Повний текст джерелаАнотація:
This thesis contains a description of the creation of installation art with the title Exploration of FSRD ISI Denpasar Park in Installation Art. Based on the experience gained while studying at ISI Denpasar. By practicing sensitivity in his work, the author conducts exploration in the garden of FSRD ISI Denpasar in order to explore ideas and get material for discussion in the creation of installation art. This creation uses the Warih Wisatsana creation method as a writer and curator of fine arts, starting with basic research, exploration, experiments or sketches, embodiment, and dissemination. It takes exploration of in-person interviews to create conceptual installation art. The materials used in this creation are cloth, by adopting the Balinese wastra concept and adding color strokes to the cloth. The technique used in the installation art is assembling by arranging materials into other materials, with a length of 270 meters of cloth stretching in the garden of FSRD ISI Denpasar. The response from nature makes this installation art will produce significant changes. In addition, this installation art work has been responded by ISI Denpasar students by adding materials that have been prepared, so the creation of this installation art is included in participatory art because of the intervention of other people in the installation art. In the end, it can be concluded that art is not only enjoyed with a pair of disembodied eyes, art is also able to bring the audience involved in it.
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Xuanhong, Liu, and Jin Wan Park. "The relationship between interactive installation art and traditional art." TECHART: Journal of Arts and Imaging Science 6, no. 2 (May 31, 2019): 29–31. http://dx.doi.org/10.15323/techart.2019.5.6.2.29.
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CondÉ, Carol, and Karl Beveridge. "Pulp Fiction: A Photo Installation." Canadian Theatre Review 99 (June 1999): 16–24. http://dx.doi.org/10.3138/ctr.99.003.
Повний текст джерелаАнотація:
We met in 1967 and have been working together for almost twenty-five years. In 1969 we had moved to New York to seek fame and fortune as sculptors and painters. We became politicized there, partly in reaction to the insane competitiveness of the art market but also in response to the larger politics of feminism, anti-racism and the left. In 1975 we became involved with a collective named Art and Language and produced a magazine titled The Fox. It became notorious for its critical discussion of the New York art scene and raised, along with the work of many other artists, political issues in relation to the production of art.
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Combrink, Louisemarié. "A Narratological Perspective on Installation Art." de arte 56, no. 2-3 (September 2, 2021): 29–51. http://dx.doi.org/10.1080/00043389.2021.1986275.
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Bush, Sarah B., Karen S. Karp, Victoria Miller Bennett, Liz Popelka, and Jennifer Nadler. "Framing Measurement: An Art Gallery Installation." Mathematics Teaching in the Middle School 18, no. 8 (April 2013): 474–83. http://dx.doi.org/10.5951/mathteacmiddscho.18.8.0474.
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Karlholm, Dan. "The Last Book on Installation Art?" Konsthistorisk tidskrift/Journal of Art History 86, no. 2 (April 26, 2016): 134–37. http://dx.doi.org/10.1080/00233609.2016.1174734.
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OnacloV. "Hijacking Documentary into Video Installation Art." Hyperrhiz: New Media Cultures, no. 3 (August 2007): 1. http://dx.doi.org/10.20415/hyp/003.e01.
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MANRESA, GEMMA ARGÜELLO. "Towards a Philosophy of Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 333–38. http://dx.doi.org/10.1111/jaac.12733.
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DEPREZ, ELEEN M. "Installation Art and Exhibitions: Sharing Ground." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 345–50. http://dx.doi.org/10.1111/jaac.12739.
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Romat, Muhammad Sukor, Muhammad Khairi Shamsudin, Ahmad Fauzi Amir Hamzah, and Noor Azzanny Jamaludin. "Lubang Indah: The pothole installation art." Environment-Behaviour Proceedings Journal 7, SI9 (October 30, 2022): 241–46. http://dx.doi.org/10.21834/ebpj.v7isi9.4271.
Повний текст джерелаАнотація:
The effects of the epidemic of COVID-19 can be seen in the natural deterioration of the roads. Self-isolation and curfews during the pandemic further exacerbate the mental health problem. Through this project, the researchers hoped to convey the negative impression of the pothole-strewn streets through an art installation. Using an artistic medium is one way to counteract the negative perception people have of potholes. In this project, freshly picked flowers, with only stems and no branches, were placed in the pothole. In this way, actual activity can be recorded based on the design of potholes.
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Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.
Повний текст джерелаАнотація:
Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.
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Steinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion." Leonardo 34, no. 2 (April 2001): 109–12. http://dx.doi.org/10.1162/002409401750184645.
Повний текст джерелаАнотація:
The author discusses her interactive architectural installation art. As an artist who works with new media, she finds herself refitting existing genres and creating new languages for her particular art form. Her artwork consists of projected interactive computer animation installations. She investigates illusions that transform the viewer's perception of actual space in a synthesis of the real and the virtual.
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Erel, Yael, Foteini Kyriakidou, and Rodrigo Eduardo Muro Avendano. "Urban Illuminations – Light Art Activating The Public Realm." IOP Conference Series: Earth and Environmental Science 1320, no. 1 (March 1, 2024): 012012. http://dx.doi.org/10.1088/1755-1315/1320/1/012012.
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Abstract How can contemporary light art installations impact the sensorial perception of the urban context to modify and reinterpret urban space? In Robert Irwin’s words, how can they provide “…an extended way of looking at the world”? In this paper, we examine how temporary light installations may impact the public realm by modifying citizens’ perceptions of moments in the city: a habitual urban passage is interrupted with a temporal experience, changing the way the urban space is experienced. We explore how site-specific light installations create unique intersections of audience and spatial perception through the artists’ intent of creating new urban atmospheres through an experiential layer added onto the urban fabric during light festivals. To do so we analyze and discuss two light installations that we designed and executed, which were shortlisted for the 2022 [d]arc awards. Both projects took part in larger urban light festivals and were located within urban passages. “Reflecting on Troy” [Author 1 - Troy Glow Light Festival] created a temporal light graffiti in an urban alley, while “Riddle 102” [Authors 2,3 - Nobel Week Lights], a dynamic lighting installation in a 231m pedestrian tunnel, created an immersive environment that alters the perception of the tunnel’s physical dimensions. Through reflections, as well as visitor and curator reviews, we unpack the intent and impact of the works on the perception of the urban context. We discuss and analyze the similarities and differences between the two urban settings, identify the design processes and principles pertinent to site-specific light installations [materials, lighting fixtures, testing] and address the impact darkness and over-lit spaces have over spatial perception. Lastly we discuss the impact a temporary light installation may have on the collective memory of the city, perceived in person or online.
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Ekinci, Berivan. "Gender, action and expression in Pipilotti rist’s ever is over all video art." Global Journal of Arts Education 11, no. 2 (August 31, 2021): 131–40. http://dx.doi.org/10.18844/gjae.v11i2.6123.
Повний текст джерелаАнотація:
In this study, two channelled and coloured video installation called Ever is Over All dated 1997 by Pipilotti Rist’s being one of the artists who shaped video installations is analysed. In this installation produced by Pipilotti Rist as a woman artist, a woman in an entranced mood is shown smashing the glasses of some of the cars parked on the roadside. There is the vast space of the flower field on the one side and then there is a cheerful woman as the main character crashing the glasses of the parked cars on the roadside with a long stemmed flower just like from the field. The female body is especially important in audio and video installations of Rist. This installation by the artist has been assessed in terms of gender, action (movement), expression, freedom and solidarity. The flower used by the woman to smash the car glasses is considered over themes such as nature, life and woman and the fact that a passing by female police officer does not intervene in the situation and goes on her way just by greeting our heroine and smiling is assessed using concepts such as gender, action/movement, expression and freedom. In this research, the effects created by the medium of expression in art are touched upon in the video installation titled Ever is Over All and it has been concluded that the subjects and objects included in the video inspire the solidarity of woman, community and nature.
Keywords: video art, Pipilotti Rist, Gender-Action-Expression
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Maria, Anna, Dewi Isma Aryani, and Tan Indra Janty. ""BLANC A NOIR" Ready to Wear Fashion Design Inspired by the Paprikas's Art Installation Design, "Trous de Memoire (Memory Holes)"." VCD 4, no. 2 (December 31, 2019): 71–85. http://dx.doi.org/10.37715/vcd.v4i2.1319.
Повний текст джерелаАнотація:
This “BLANC À NOIR” ready to wear collection is inspired by the Paprika Design’s installation art, “Trous de Mémoire (Memory Holes)”. This installation was installed at Aires Libres for 1 month on September 2013. There are 6 large scale light boxes. It invites the viewers to walk down a memory lane, but there are tricks and humorous discoveries to be made, indicating that what is forgotten is not always lost. This collection is adapting the rectangular shape of the installation as the silhouette, the installation’s colors, black and white, and Trous de Mémoire Installation Art’s pictures and writings motif as a reference to make every looks. Also, adjusted with Trend Forecasting Grey Zone 2017-18 theme Vigilant and sub theme Structural-Cermat Terukur-Ekspos Teknik Sambung. The Target market are women with age range 27-35 years old, live in Bandung, Yogyakarta, and Jakarta, artistic, like visiting art event in Indonesia, a public figure and fashion trendsetter.
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Agac, Saliha. "Installation Artist in the Fashion Industry: Yayoi Kusama." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 35–41. http://dx.doi.org/10.18844/prosoc.v4i11.2847.
Повний текст джерелаАнотація:
The history of fashion has shown that art and fashion are influenced by each other. Cooperation between the two disciplines is quite extensive. In this work, first, the installation artist Yayoi Kusama’s installations and the clothes that she prepared for these installations are examined. Then, the 2012 collection prepared with the cooperation of Yayoi Kusama-Louis Vuitton was examined and visual content analysis forms were created. As a result of the findings, a capsule collection was prepared in honour of Yayoi Kusama and photographed by establishing the figure–ground relationship as in the fashion photographs of the Yayoi Kusama-Louis Vuitton collection. Keywords: Yayoi Kusama, Louis Vuitton, fashion design, art, capsule collection.
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Aaftab, Mohsina. "INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS." International Journal of Research -GRANTHAALAYAH 4, no. 10 (October 31, 2016): 16–20. http://dx.doi.org/10.29121/granthaalayah.v4.i10.2016.2483.
Повний текст джерелаАнотація:
Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. For conceptual artists art need not look like a traditional work of art. Presented study focuses on the installation work of Indian artists. Four artists were selected by the researcher viz. Subodh Gupta, Shilpa Gupta, Bharti Kher and ChintanUpadhaya. Researcher investigates the concepts behind the art work of selected artists, their methods and materials they have used in their art work. The selection of artist in current study is on the bases of their fame and popularity. Method of the current study is analytical.
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Breukel, Klaasz, and Ellen Cieraad. "Using Light as a Medium to Convey Its Dark Side—A Light Festival Case Study." Sustainability 16, no. 16 (August 13, 2024): 6941. http://dx.doi.org/10.3390/su16166941.
Повний текст джерелаАнотація:
The pervasive use of anthropogenic light at night has significantly increased the brightness of the night sky, which negatively affects human wellbeing, the ecology of plants and animals, night sky aesthetics, and astronomical observations. However, public awareness of light pollution remains limited. This study evaluates the effectiveness of an ‘eco-art installation’ in raising awareness about the impacts of anthropogenic light at night (ALAN). The installation, ‘Scope’, used light as a medium to convey the adverse effects of anthropogenic light at the Te Ramaroa festival in Nelson, New Zealand, which is held to celebrate light in the depths of winter. An online survey assessed the awareness of Nelson region residents, comparing responses between those who experienced the installation and those who did not, and assessing the self-reported knowledge increase after engagement with the installation. The findings indicated that eco-art installations can significantly enhance the public’s understanding of ALAN’s environmental and health impacts. The installation successfully increased self-reported specific knowledge about ALAN, with 92% of visitors reporting learning something new; however, overarching knowledge and levels of concern were largely similar between the groups. Emotional engagement was high, with 62% of viewers stating that the installation invoked an emotional response. While the study did not measure beha-vioural changes, 94% of festival participants found it at least ‘somewhat appropriate’ and 64% found it ‘very’ or ‘entirely appropriate’ to raise awareness of these issues at such events, suggesting a potential foundation for future action. This research underscores the promise of art–science collaborations in environmental education and public engagement.
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Han, Eunjung, Chee-Onn Wong, Keechul Jung, and Kyung Ho Lee. "Emotion Gesture Art." Leonardo 43, no. 3 (June 2010): 308–9. http://dx.doi.org/10.1162/leon.2010.43.3.308.
Повний текст джерелаАнотація:
Emotion gesture art is a new type of user modeling and representation in a form of aesthetic art. It consists of a unique combination of color, sound and animation (shape) that in itself creates the same emotional feeling for spectators. Emotion gesture art takes the body posture expression and remaps the communication of emotions into an aesthetic representation. This paper also presents an emotion gesture art installation (eG-art), a system prototype for affective computing. This installation will allow a smart blend of a system for affective computing with aesthetic art representation.
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무윈. "A Study on the Installation art characteristics in Fashion Art." Korean Journal of Art and Media 16, no. 1 (May 2017): 139–80. http://dx.doi.org/10.36726/cammp.2017.16.1.139.
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Doran, Sabine. "Archival Art and Open Wounds: From Hofmannsthal to Installation Art." Seminar: A Journal of Germanic Studies 53, no. 3 (September 2017): 234–50. http://dx.doi.org/10.3138/seminar.53.3.04.
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Sulaiman, Nursuliana. "Installation Art in Public Spaces as Socio-Spatial Framing of Place: Case Study Loominous River Installation Art (2022)." International Journal of Creative Multimedia 4, no. 1 (April 30, 2023): 22–44. http://dx.doi.org/10.33093/ijcm.2023.4.1.2.
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As a means to revitalise sluggish cities, public and private investment agencies have taken a keen interest in public installation art. As place-making initiatives endeavour to attract valuable trained human talent to their cities, local governments and city councils have deemed art in public spaces indispensable. Installation art in public spaces is crucial for revitalising run-down areas of a city. By placing the individual's perception at the centre of the aesthetic experience, installation art has the potential to help people perceive the city in a different way. Through novel corporeal experiences, it is possible to introduce new narratives of the city. Moreover, such experiences are essential for creating memories and fostering a sense of belonging among the city's residents. The commissioning of installation art is a complex creative process involving multiple stakeholders and public funds. This exploratory essay seeks to examine the public commissioning of installation art as a means to instigate socio-spatial relationships framing a specific location. The primary case study is Loominous River (2022), one of the commission beneficiaries of Thinkcity and Cendana's Project Light in 2021. Through empirical observations of the production process from conception to completion, the author attempts to establish the relationship between installation art and place-making.
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Park, Jaehyung. "Installation Art and the Aesthetics of Experience." Korean Society of Culture and Convergence 45, no. 4 (April 30, 2023): 309–20. http://dx.doi.org/10.33645/cnc.2023.04.45.04.309.
Повний текст джерелаАнотація:
This study aims to review the relationship between works and audiences in contemporary art by discussing installation art in terms of audience participation. For this purpose, it analyzes the aspects and structures of installation art that induce and encourage participation in various directions, and examines what kind of experiences installation art provides to the audience. The contents of the study will interpret minimalism in relation to Merlo-ponty's phenomenology and discuss the meaning of the exhibition that changes from space to place based on the consideration of the existing installation site. In addition, as audience-participating installation art develops, research will be discussed under the view that art does not exist as a “work” but has the power to change in the process of “events” and the expansion of Benjamin's concept of aura will be explored through Böhme's asthetik. Based on these discussions, this study raises the need to re-establish the concept of installing art works in the sense of creating a place where multiple interpretations and ambiguity meanings can be produced by inducing the participation of the audience, rather than simply displaying objects in space.