Site-Specific Installation Art in Historical Perspective

2021 ◽  
pp. 41-74
Keyword(s):  
Historical Perspective ◽  
Installation Art ◽  
Site Specific

Site-Specific Installation Art in Historical Perspective

2021 ◽  
Author(s):  
Tatja Scholte
Keyword(s):  
Historical Perspective ◽  
Installation Art ◽  
Site Specific ◽  
Historical Discourse ◽  
Historical Perspectives ◽  
One Step ◽  
Changes Over Time ◽  
The Relationship ◽  
Second Period ◽  
Historical Periods

The argument in this chapter starts with a discussion of the art historical discourse on site-specific installation art. Artists as well as critics have explored various notions of site specificity, usually in concordance with successive art historical periods: the first “wave” of site-specific installations created during the late 1960s and early 1970s, and a second period, from the 1980s and early 1990s until today. The chapter elucidates several art historical perspectives on both periods and the shifts occurring in the relationship between artists and museum institutions, between the artwork and the site. Furthermore, it is important to realize that site-specific installation artworks are highly diverse in form, content, and meaning. For the current purpose of developing a model with an eye to the artworks’ perpetuation, a chronological approach is only partly effective. A further abstraction in categorization is needed, focusing on the network of site-specific functions and their changes over time. To this end, a selection of relevant notions elucidate the extended lives of site-specific installations, which I derive from case studies and observations made by artists and art historians in this respect. The discussion is a prelude to chapter 3, in which I take the vocabulary for site-specific installation artworks one step further by employing a triadic set of spatial functions, which I derive from Henri Lefebvre’s theory on space.

Carl Michael von Hausswolff

2008 ◽  
Vol 13 (1) ◽  
pp. 21-29 ◽  
Author(s):  
Daniela Cascella
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Site Specific ◽  
Sound Installation ◽  
Avant Garde ◽  
Wide Range ◽  
The World ◽  
Art Photography ◽  
Conceptual Research ◽  
Audio Production

AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.

scholarly journals The Perpetuation of Site-Specific Installation Artworks in Museums

2021 ◽  
Author(s):  
Tatja Scholte
Keyword(s):  
Contemporary Art ◽  
Installation Art ◽  
Site Specific ◽  
Specific Location ◽  
Artistic Production ◽  
Paradoxical Situation ◽  
New Meanings ◽  
Insight Into ◽  
Support Decision Making ◽  
Over Time

Site-specific installations are created for a specific location and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums. Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. This book provides an in-depth account of the paradoxical situation when site-specific installations are being preserved and put on display in a museum context. Tatja Scholte offers a conceptual framework for scholars and professionals in order to better understand the transformative nature of site-specific installation art and to support decision-making in museums as to conserving and presenting these artworks over time. The case studies provide insight into the diversity of artistic production over the last forty years. They explore how site-specific installations gain new meanings and forms in a museum context, and, vice versa, how these artworks become agents for change of professional routines and museum strategies.

Project Arbol:Deer-B-Gone: journal of a guerrilla sound installation

2003 ◽  
Vol 8 (2) ◽  
pp. 133-137 ◽  
Author(s):  
MARY WRIGHT ◽  
PERRY COOK
Keyword(s):  
New Jersey ◽  
Installation Art ◽  
Theme Park ◽  
Sound Track ◽  
Site Specific ◽  
Sound Installation ◽  
Disney World ◽  
And Performance ◽  
Sound Installation Art

Project Arbol:Deer-B-Gone is a an outdoor sound installation of indefinite duration for twenty-three speakers. It takes on a guerrilla approach to sound installation art. Low-tech concepts and supplies, such as car amplifiers, aircraft cable, inexpensive cassette players, coupled with an overall irreverence for mainstream consumerism, created something like a Disney World theme park gone awry. The installation, which was site-specific, took place in a backyard in Princeton, New Jersey, USA. Yards and yards of cable were woven through the trees. Speakers were later mounted on the cable. Once in place, the speakers moved slowly along the cable. Each speaker played its own sound track. While there were some technical difficulties that plagued the project throughout its development and performance, overall Project Arbol proved to be a resilient installation.

The Problem of the Perpetuation of Site-Specific Installation Art

2021 ◽  
Author(s):  
Tatja Scholte
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Installation Art ◽  
Museum Collections ◽  
Small Space ◽  
Site Specific ◽  
The Press ◽  
Used Car

In the summer of 1961, Allan Kaprow (1927–2006) installed dozens of used car tyres in the courtyard of the Martha Jackson Townhouse Gallery in New York City. The artist had collected these tyres from a nearby garage and invited his friends and fellow artists to participate in the Happening called Yard.2 There was no audience except for the participants who jumped over the heaps of tyres and moved them around. Photographs of Yard show Kaprow arranging the tyres within the small space of the courtyard, which was officially the sculpture garden of the gallery. Apart from the photographs, accounts of the event are scarce, and the press hardly paid any attention to it. And yet, Yard became one of Kaprow’s seminal Happenings. The work has been acquired for many museum collections and was re-executed on numerous occasions, both by Kaprow and others, at different places and with other participants.

scholarly journals Between-ness

IDEA JOURNAL ◽  
1969 ◽  
pp. 131-144
Author(s):  
Cathy Smith
Keyword(s):  
Installation Art ◽  
Doctoral Program ◽  
Theoretical Framework ◽  
Design Practice ◽  
Spatial Practices ◽  
Site Specific ◽  
Architecture And Design

In this paper, a theoretical framework developed in a doctoral program of research concerned with connecting philosophies of between-ness with design practice is described. The theory of ‘spatial excess’ as defined by Elizabeth Grosz is shown to be particularly useful in reconceptualising design practice. Central to this is an understanding of spatial excess in relation to anti-deterministic space, the search for different spatial inhabitations, and ephemeral people-space relations; dimensions developed further in the doctoral program through two spatial practices that exist outside conventional architecture and design – site specific installation art and experimental making. These are outlined in the paper together with findings that suggest that practices of spatial excess might be most potent in sites that are conceptually and physically interior, and that these practices should happen in everyday contexts and environments where they can be initiated by their occupants.

Conclusion and Further Discussion

2021 ◽  
Author(s):  
Tatja Scholte
Keyword(s):  
Analytical Model ◽  
Installation Art ◽  
Site Specificity ◽  
Initial Manifestation ◽  
Site Specific ◽  
History Of ◽  
Surrounding Space ◽  
Institutional Engagement

The readers of this book have taken note of the history of site-specific installation art and were offered an analytical model for examining the perpetuation of the artworks in a museum context. As the term suggests, site-specific installations are physically tied to the surrounding space and would, strictly speaking, have no afterlives after their initial manifestation. However, as demonstrated with many examples, site-specific installations can have extended lives and are frequently relocated to different contexts and times. Hence, rather than defining site specificity as a “fixed” characteristic, this study took a broader perspective by looking into the biographies of the artworks in relation to the exhibition site, ongoing institutional engagement, the locations of production, and the visitors’ interaction in the here and now.

Large-cluster and combined fluorescent and gold immunoprobes

1996 ◽  
Vol 54 ◽  
pp. 892-893
Author(s):  
Richard D. Powell ◽  
James F. Hainfeld ◽  
Carol M. R. Halsey ◽  
David L. Spector ◽  
Shelley Kaurin ◽  
...  
Keyword(s):  
Metal Cluster ◽  
Sulfonyl Chloride ◽  
Gel Filtration ◽  
Cross Linking ◽  
Site Specific ◽  
Fab Fragments ◽  
Cluster Label ◽  
Covalently Linked ◽  
Texas Red ◽  
Fold Excess

Two new types of covalently linked, site-specific immunoprobes have been prepared using metal cluster labels, and used to stain components of cells. Combined fluorescein and 1.4 nm “Nanogold” labels were prepared by using the fluorescein-conjugated tris (aryl) phosphine ligand and the amino-substituted ligand in the synthesis of the Nanogold cluster. This cluster label was activated by reaction with a 60-fold excess of (sulfo-Succinimidyl-4-N-maleiniido-cyclohexane-l-carboxylate (sulfo-SMCC) at pH 7.5, separated from excess cross-linking reagent by gel filtration, and mixed in ten-fold excess with Goat Fab’ fragments against mouse IgG (obtained by reduction of F(ab’)2 fragments with 50 mM mercaptoethylamine hydrochloride). Labeled Fab’ fragments were isolated by gel filtration HPLC (Superose-12, Pharmacia). A combined Nanogold and Texas Red label was also prepared, using a Nanogold cluster derivatized with both and its protected analog: the cluster was reacted with an eight-fold excess of Texas Red sulfonyl chloride at pH 9.0, separated from excess Texas Red by gel filtration, then deprotected with HC1 in methanol to yield the amino-substituted label.

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