scholarly journals INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS

2016 ◽  
Vol 4 (10) ◽  
pp. 16-20
Author(s):  
Mohsina Aaftab
Keyword(s):  
New Media ◽  
Installation Art ◽  
Modern Art ◽  
Conceptual Art ◽  
Work Of Art ◽  
Private Spaces ◽  
Traditional Work ◽  
Selection Of ◽  
Media Installation

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.

Exhibitions of Sculpture as a Sign of the Spatial Shift: From Spring Salon to Sculpture in the Garden

Ikonotheka ◽  
2017 ◽  
Vol 26 ◽  
pp. 253-276
Author(s):  
Anna Maria Leśniewska
Keyword(s):  
Modern Art ◽  
Work Of Art ◽  
Research Perspective ◽  
Spatial Shift ◽  
Outdoor Space ◽  
Crucial Part ◽  
Selection Of

A selection of exhibitions of sculpture held between the years 1946 and 1957 illustrates the formal transformations and diversity of methods of exhibiting sculpted forms as identifi ed through their manner of cooperating with space. The experiments, which commenced during the First Exhibition of Modern Art (1948) and were later creatively developed at the Krzywe Koło and Zachęta galleries, were based on ideas that had been formulated by K. Kobro and W. Strzemiński in Kompozycja przestrzeni. Obliczenia rytmu-czasoprzestrzennego (1931), produce a diversifi ed picture of intense formal exploration of sculpture, with the category of “space” emerging as a crucial part of the research perspective. The integrated gallery space and the setting for a work of art – which during the Sculpture in the Garden show (1957) included outdoor space – defi ned a trend that was moving towards the concept of an installation. Exhibitions indirectly connected with sculpture, e.g. Studium przestrzeni (1957), were used as research instruments in the process of extending the boundaries of sculptural forms to include their reaching into space.

Technology, Nature, Software and Networks: Materializing the Post-Romantic Landscape

Leonardo ◽  
2011 ◽  
Vol 44 (2) ◽  
pp. 101-106 ◽  
Author(s):  
Chris Welsby
Keyword(s):  
New Media ◽  
Real Time ◽  
Large Scale ◽  
Natural World ◽  
Time Data ◽  
Real Time Data ◽  
Weather Stations ◽  
Selection Of ◽  
Made In ◽  
Media Installation

The author began making films and installations in the early 1970s. Although he has worked across a range of media, he has always concentrated on one particular theme that he conceptualizes as a two-sided question: How do we see ourselves in relation to the natural world, and how should we position our selves and our technologies within it? This essay traces some of the threads of these seminal ideas through a selection of works made in the years between 1974 and 2009. The author concludes with a detailed description of Tree Studies, a large-scale new media installation powered by real-time data from weather stations around the planet.

scholarly journals About the Anti-Figurativeness of #selfie. (Location of #selfie)

2015 ◽  
Vol 8 (6) ◽  
Author(s):  
Giacomo Di Foggia
Keyword(s):  
New Media ◽  
Social Environment ◽  
Conceptual Art ◽  
Natural World ◽  
The Self ◽  
Work Of Art ◽  
Current Discussion ◽  
Artistic Self

In this paper, I propose that what I will call “#selfie” is far from being a figurative object as it is generally assumed, since figurativeness is not an accidental consequence.  As 'figurative', we mean the quality of the image with iconic reference to objects and subjects belonging to the natural world (beings, phenomena, things). According to Greimas (1984), in order to analyse a work of art you must first determine whether it is of a figurative or abstract kind and, therefore, whether it represents icons that are related to the natural world (beings, phenomena, objects) or those which have no figurative references.  Based on a number of examples of #selfies, I shall instead demonstrate that the context in which these self-portraying pictures are taken, as well as the online and social environment in which they are shared, are more important than the self-portrayed subjects themselves. The hashtag “#”, in fact, indicates the centrality of the tag, the gesture of tagging, which is considerably more important than the fact of being self-portrayed through the #selfie. This implies that research on the practice of taking and sharing #selfies should (re)consider the current discussion focus on all those contemporary phenomena that are fostering and developing self-expression through new media. Taking into account the reflections made by Esposito on the impersonal (2007) and the research by Villa on contemporary self-portraits (2012, 2013), I will try to relate the production of #selfies to the practices of conceptual art (eg. Location of the I by Martin John Callanan), rather than privileging the idea of artistic (self)representation.

scholarly journals DEKONSTRUKSI DIRI SENDIRI DALAM PROSES PENCIPTAAN KARYA SENI

Imaji ◽  
2015 ◽  
Vol 5 (2) ◽  
Author(s):  
Ign. Hening Swasono Ph
Keyword(s):  
Key Words ◽  
Installation Art ◽  
Modern Art ◽  
Zero Point ◽  
Individual Identity ◽  
Work Of Art ◽  
Knock Down ◽  
Modern View ◽  
The Creation ◽  
Single Medium

Self deconstruction is a means of breaking down the established art creation, representing individual identity and abandoning modern art or conventional art creation. It was applied in a work of art, whose forms were cracked wood constructed like paintings. In the new concept of art creation, self-deconstruction of Derrida and Nagajurna was applied. The deconstruction as a concept of creating and acting bravely to break down reality and imitating self creation was applied until the zero point. In other words, the emptiness is stability. “All possible” is the concept of creation applied by the writer. The concept was realized by using used wood as a medium of expression of artistic moments. The installation was composed of several different media such as wood, plastic and iron. The concept also abandoned single medium (the modern view of art creation). This art creation used the integration of creation and recreation as well. The creation technique applied was assemblage, collage, and knock­down system with shifting understanding, namely function replacement. The knock-down system in the installation was made based on the artist's will or on the art viewers, display areas and the surrounding. In the name of deconstruction, the writer believes that the created arts are multi-interpretable. Key words: deconstruction, installation art and interpretation

An Author as Literature. (Visual) Autofiction of Dorota Masłowska

2016 ◽  
Author(s):  
Anna Michalak
Keyword(s):  
New Media ◽  
Cultural Practices ◽  
Conceptual Art ◽  
Visual Representations ◽  
The Creation

Using the promotional meeting of Dorota Masłowska’s book "More than you can eat" (16 April 2015 in the Bar Studio, Warsaw), as a case study, the article examines the role author plays in it and try to show how the author itself can become the literature. As a result of the transformation of cultural practices associated with the new media, the author’s figure has gained much greater visibility which consequently changed its meaning. In the article, Masłowska’s artistic strategy is compared to visual autofiction in conceptual art and interpreted through the role of the performance and visual representations in the creation of the image or author’s brand.

Eat yourself fitter: John Latham and Clement Greenberg’s Art and Culture

2000 ◽  
Vol 25 (2) ◽  
pp. 40-44
Author(s):  
Simon Ford
Keyword(s):  
New York ◽  
Modern Art ◽  
Conceptual Art ◽  
Suitable Condition ◽  
Museum Of Modern Art ◽  
Art And Culture ◽  
History Of

In 1966 John Latham and some friends began chewing Clement Greenberg’s book Art and culture: collected essays. The resulting art work, entitled Art and Culture (1966-1969), is now recognised as a seminal conceptual art work and is part of the collection of the Museum of Modern Art, New York. Latham, however, had borrowed the book from St. Martin’s School of Art library and when he was unable to return it in a suitable condition his teaching contract was not renewed. This essay looks at the history of the work, the ideas behind its creation, and the issues it raises for the culture of the book today.

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