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Installation Art
Between Image and Stage
Anne Ring Petersen
(2015)
Sprog: Engelsk
Museum Tusculanum
398,00 kr.
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Detaljer om varen
- 1. Udgave
- Hæftet: 507 sider
- Udgiver: Museum Tusculanum (September 2015)
- ISBN: 9788763542579
Despite its large and growing popularity — to say nothing of its near-ubiquity in the world’s art scenes and international exhibitions of contemporary art — installation art remains a form whose artistic vocabulary and conceptual basis have rarely been subjected to thorough critical examination.
In Installation Art: Between Image and Stage, Anne Ring Petersen aims to change that. She begins by exploring how installation art developed into an interdisciplinary genre in the 1960s, and how its intertwining of the visual and the performative has acted as a catalyst for the generation of new artistic phenomena. She investigates how it became one of today's most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where installation's often spectacular appearance ensures that it meets contemporary demands for sense-provoking and immersive cultural experiences.
The main trajectory of the book is directed by a movement aimed at addressing a series of basic questions that get at the heart of what installation art is and how it is defined: How does installation structure time, space and representation? How does it address and engage its viewers? And how does it draw in the surrounding world to become part of the work? Featuring the work of such well-known artists as Bruce Nauman, Pipilotti Rist, Ilya Kabakov and many others, this book breaks crucial new ground in understanding the conceptual underpinnings of this multifacious art form.
Anne Ring Petersen is associate professor in the Department of Arts and Cultural Studies at the University of Copenhagen and the editor of Contemporary Painting in Context.
In Installation Art: Between Image and Stage, Anne Ring Petersen aims to change that. She begins by exploring how installation art developed into an interdisciplinary genre in the 1960s, and how its intertwining of the visual and the performative has acted as a catalyst for the generation of new artistic phenomena. She investigates how it became one of today's most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where installation's often spectacular appearance ensures that it meets contemporary demands for sense-provoking and immersive cultural experiences.
The main trajectory of the book is directed by a movement aimed at addressing a series of basic questions that get at the heart of what installation art is and how it is defined: How does installation structure time, space and representation? How does it address and engage its viewers? And how does it draw in the surrounding world to become part of the work? Featuring the work of such well-known artists as Bruce Nauman, Pipilotti Rist, Ilya Kabakov and many others, this book breaks crucial new ground in understanding the conceptual underpinnings of this multifacious art form.
Anne Ring Petersen is associate professor in the Department of Arts and Cultural Studies at the University of Copenhagen and the editor of Contemporary Painting in Context.
Preface Introduction Space of perspective, space of experience Situating this book An overview
1. Towards a definition Passage works Genre or not? Installation - a definition I Minimum and maximum installations Ergon and parergon - an analytical model
2. Articulating installation The body in space Discourse analysis From sculpture, to environment, to installation The ideological effect of installation discourse Space in installation discourse Three main positions in installation discourse
3. Viewpoints on installation The aesthetics of presence Contextualism and institutional critique Institutionalisation and categorization Sculpture and staging 106 Object and event Installation as passage work I Exhibition and photo documentation
4. Articulating performance Performance - a new paradigm? Performance as aesthetic expression Performance and performativity The performative turn In the interface between theatre and the visual arts The myth of unmediated presence 139 Performance and postmodernism
5. Installation as shaped space Activating space Mona Hatoum: Light Sentence Installation - a space with four dimensions An aesthetically organised space Spatiality Theatricality Fictional space Merging the work''s space and the viewer-performer''s real space
6. Installation as temporal situation Time in art Represented time and reception time Three ways of thematising time The temporary installation Installation as time model The narrative installation
7. Installation between image and stage Performative installation Performance, performativity, theatricality The performativity of experiencing art The theatricality of installation art Juan Muñoz and the theatre of the gaze Crossovers between performance and installation art Long-term consequences of exchange Thomas Bang and the scenography of objects A dialectic experience
8. Performance theatre between stage and image Avant-garde and minimalism Robert Wilson''s theatre of images Space as frame: Hotel Pro Forma
9. Navigation, immersion and interaction in video installation Art and technology Subject and object Viewer and work Navigation, immersion and interaction White cubes and black boxes "Teachings" of video installation
10. Site and context Site as the source of meaning Site-specificity since the 1990s Site and performance Site as event
11. Conclusion: On the threshold between art and culture Installation - a definition II The open work Installation as cross-cultural expression Installation as passage work II
12. Epilogue: A historical threshold Approaching a historical explanation Decentring the subject, decentring mankind Installation as spectacle and themescape Installation and consumer culture Navigating installation''s space Notes List of illustrations List of figures Bibliography Index
1. Towards a definition Passage works Genre or not? Installation - a definition I Minimum and maximum installations Ergon and parergon - an analytical model
2. Articulating installation The body in space Discourse analysis From sculpture, to environment, to installation The ideological effect of installation discourse Space in installation discourse Three main positions in installation discourse
3. Viewpoints on installation The aesthetics of presence Contextualism and institutional critique Institutionalisation and categorization Sculpture and staging 106 Object and event Installation as passage work I Exhibition and photo documentation
4. Articulating performance Performance - a new paradigm? Performance as aesthetic expression Performance and performativity The performative turn In the interface between theatre and the visual arts The myth of unmediated presence 139 Performance and postmodernism
5. Installation as shaped space Activating space Mona Hatoum: Light Sentence Installation - a space with four dimensions An aesthetically organised space Spatiality Theatricality Fictional space Merging the work''s space and the viewer-performer''s real space
6. Installation as temporal situation Time in art Represented time and reception time Three ways of thematising time The temporary installation Installation as time model The narrative installation
7. Installation between image and stage Performative installation Performance, performativity, theatricality The performativity of experiencing art The theatricality of installation art Juan Muñoz and the theatre of the gaze Crossovers between performance and installation art Long-term consequences of exchange Thomas Bang and the scenography of objects A dialectic experience
8. Performance theatre between stage and image Avant-garde and minimalism Robert Wilson''s theatre of images Space as frame: Hotel Pro Forma
9. Navigation, immersion and interaction in video installation Art and technology Subject and object Viewer and work Navigation, immersion and interaction White cubes and black boxes "Teachings" of video installation
10. Site and context Site as the source of meaning Site-specificity since the 1990s Site and performance Site as event
11. Conclusion: On the threshold between art and culture Installation - a definition II The open work Installation as cross-cultural expression Installation as passage work II
12. Epilogue: A historical threshold Approaching a historical explanation Decentring the subject, decentring mankind Installation as spectacle and themescape Installation and consumer culture Navigating installation''s space Notes List of illustrations List of figures Bibliography Index
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