scholarly journals Transgressions and boundaries of the page as conceptual art

Literator ◽  
2012 ◽  
Vol 33 (1) ◽  
Author(s):  
Rita M.C. Swanepoel
Keyword(s):  
Installation Art ◽  
Conceptual Art ◽  
Art Installation ◽  
Ideal Medium ◽  
Interdisciplinary Nature

This article offers a philosophical overview of conceptual art. I argue that, since the project Transgressions and boundaries of the page transgresses and conceptually extends the boundaries of the concept of the book, it can be viewed in its entirety as a language-based installation art, consisting of various components, viz. artists’ books. Due to its interdisciplinary nature, this conceptual art installation challenges the boundaries of conceptual art. The project and exhibitions confirm that artists’ books constitute an ideal medium to involve artists from divergent disciplines in the play with and discovery of the possibilities of the book. The project as a whole can be categorised as conceptual art, as it reconsiders, reinvents and theorises the concept book.

scholarly journals The Contemporary Art of the Nature Morte in the Age of Artificial Life Forms: The Metafictional Illusion of Life in Installation Art and Jeanette Winterson’s Frankissstein

2021 ◽  
Author(s):  
Audrey Chan
Keyword(s):  
Artificial Life ◽  
Installation Art ◽  
Contemporary Literature ◽  
Conceptual Art ◽  
Life Forms ◽  
Jeanette Winterson ◽  
Art Installation ◽  
Art Object ◽  
Art Objects ◽  
Definition Of

Observing the artistic response to the illusional nature of artificial life forms in the field of installation art, contemporary writers often allude to conceptual artworks through ekphrastic means to “grasp the texture of the contemporary real” (Virilio 4) in a technologically “transformative moment” (Boxall 4). A “reality hunger” for the contemporary brings together a “burgeoning group of interrelated […] artists in a multitude of forms of media” (Shields 3) to experiment new forms across disciplines through ekphrasis, which “strikes to explode” the “stuffed package” of a culture “containable with its shaped word” (Krieger 233). In her essay “Art Objects” (1995), Jeanette Winterson shows her interest in contemporary conceptual art as she writes that “the true artist is interested in the art object as an art process” and establishing a connection to the future instead of being interested in the final product (12). Her definition of art coincides with that of conceptual art as it seeks to analyse “the ideas underlying the creation and reception of art” (Shanken 433), and thus takes on the framework of the meta-critical process from conceptual art with “the use of scientific concepts and technological media both to question their prescribed applications and to create new aesthetic models” (Shanken 434). Deriving from the artistic landscape of conceptual installation art and its interactions with science, Winterson borrows the subject of the nature morte and the metafictional framework to address the clashes between artificial life forms and the human civilisation by alluding to artworks such as those of Damien Hirst in her novel Frankissstein (2019) when writing about cryonic bodies: “It’s a little like an art installation in here isn’t it? Have you seen Damien Hirst’s pickled shark in a tank?” (106). Based on the interdisciplinary interrelations between installation art and contemporary literature, this paper will read the dialogue between Winterson’s ekphrastic subject of the nature morte in Frankissstein and contemporary installation art, including works of Hirst, Cai Guo-Qiang, and Guillaume Paris, as a response to the rise of artificial life forms with respect to their metafictional and illusional nature as AI will become “fully self-designing” (Winterson 73).

Map Art

2006 ◽  
pp. 5-14 ◽  
Author(s):  
Denis Wood
Keyword(s):  
Installation Art ◽  
Conceptual Art ◽  
Video Art ◽  
Discourse Function ◽  
Art Installation ◽  
Earth Art ◽  
The Past ◽  
Graphic Communication ◽  
Past Half Century ◽  
Past Half

Artists make maps. Inspired by maps made by the Surrealists, by the Situationists, by Pop Artists, and especially by Conceptualists of every stripe, artists in increasing numbers have taken up the map as an expressive medium. In an age less and less enamored of traditional forms of representation – and increasingly critical – maps have numerous attractions for artists. Beyond their formal continuities, maps and paintings are both communicative, that is, constructs intended to affect behavior. As the energy of painting has been dispersed over the past half century into earth art, conceptual art, installation art, performance art, video art, cyber art, and so on, it has dispersed the map as a subject along with it. The irresistible tug maps exert on artists arises from the map’s mask of neutral objectivity, from its mask of unauthored dispassion. Artists either strip this mask off the map, or fail to put one on. In either case artists simultaneously point to the mask worn by the map, while they enter unmasked into the very discourse of the map. In so doing map artists are erasing the line cartographers have tried to draw between their form of graphic communication (maps) and others (drawings, paintings, and so on). In this way map artists are reclaiming the map as a discourse function for people in general. The flourishing of map art signals the imminent demise of the map as a privileged form of communication. The map is dead! Long live the map!

Le Musée d’Art E Pluribus Unum: An Urban Arts Movement in Haiti

2020 ◽  
Author(s):  
Katherine Smith
Keyword(s):  
Cultural Capital ◽  
Installation Art ◽  
Conceptual Art ◽  
Access Networks ◽  
Art World ◽  
Art Making ◽  
Found Objects ◽  
Monetary Value ◽  
Art Collectives ◽  
Urban Arts

The Atis Rezistans (Resistance Artists) are a collective of sculptors based in downtown Port-au-Prince who have founded their own museum. The artists are best known for using found objects and wood to make politically charged works that draw on the imagery of Vodou. Since launching this artistic movement over a decade ago, co-founder André Eugène has referred to his home and atelier as Le Musée d’Art E Pluribus Unum. While art collectives are common in Haitian art, by designating themselves a “museum” the Atis Rezistans have incorporated aspects of conceptual art and installation art into their art movement. They describe the founding of this museum as a strategic appropriation of an institution that has historically belonged to the bourgeoisie. Conversations with Eugène, and other artists in the collective, reveal that they have carefully considered the power of museums: museums imbue certain objects with cultural capital and monetary value; present certain world views through the display of objects; and may offer visitors encounters with human remains. Becoming a museum has allowed Eugène and the other artists to access networks of art world mobility in ways that their artworks alone would not have. This essay offers context for understanding the Atis Rezistans as part of a tradition of art making among Haiti’s majority. It argues that due to their location, their class, and their overt use of Vodou imagery, scholars have overlooked conceptual elements of their movement, specifically how they play with the idea of the museum.

scholarly journals Perpetual Shift

2021 ◽  
Author(s):  
Paul Aloisi
Keyword(s):  
User Interface ◽  
Built Environment ◽  
Ubiquitous Computing ◽  
Digital Media ◽  
Human Body ◽  
Installation Art ◽  
Tangible User Interface ◽  
Art Installation ◽  
Interactive Architecture ◽  
Art And Architecture

Perpetual Shift, a responsive art installation, exists at the intersection of digital media, art and architecture, bearing a range of connections to the realm of ubiquitous computing and adding to evolving perspectives in the fields of installation art and interactive architecture by proposing a new mode of engaging with data through the physical built environment. The physical embodiment of the sculpture has the functional properties of a Tangible User Interface and employs an innovative approach to material application to generate multi-modal dynamic output (sight and sound). Though as a device Perpetual Shift is capable of being programmed to function as a form of data-physicalization, this artwork is a form of data-sculpture whereby location of the human body is interpreted as data which drives the actuation of the built environment.

scholarly journals Perpetual Shift

2021 ◽  
Author(s):  
Paul Aloisi
Keyword(s):  
User Interface ◽  
Built Environment ◽  
Ubiquitous Computing ◽  
Digital Media ◽  
Human Body ◽  
Installation Art ◽  
Tangible User Interface ◽  
Art Installation ◽  
Interactive Architecture ◽  
Art And Architecture

Perpetual Shift, a responsive art installation, exists at the intersection of digital media, art and architecture, bearing a range of connections to the realm of ubiquitous computing and adding to evolving perspectives in the fields of installation art and interactive architecture by proposing a new mode of engaging with data through the physical built environment. The physical embodiment of the sculpture has the functional properties of a Tangible User Interface and employs an innovative approach to material application to generate multi-modal dynamic output (sight and sound). Though as a device Perpetual Shift is capable of being programmed to function as a form of data-physicalization, this artwork is a form of data-sculpture whereby location of the human body is interpreted as data which drives the actuation of the built environment.

scholarly journals The importance of installation art for the development of contemporary art in the world and Ukraine

2019 ◽  
pp. 278-287
Author(s):  
Daria Chemberzhi
Keyword(s):  
National Culture ◽  
Contemporary Art ◽  
Installation Art ◽  
Modern Art ◽  
Cultural Development ◽  
Art Installation ◽  
Art Form ◽  
The World ◽  
Different Types ◽  
Free Development

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

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.

This is not thick description: Conceptual art installation as ethnographic process

Ethnography ◽  
2017 ◽  
Vol 19 (2) ◽  
pp. 153-182 ◽  
Author(s):  
Cassandra Hartblay
Keyword(s):  
Contemporary Art ◽  
Knowledge Production ◽  
Conceptual Art ◽  
Research Process ◽  
Cultural Performance ◽  
Performance Ethnography ◽  
Thick Description ◽  
Methodological Innovation ◽  
Art Installation ◽  
Feminist Disability Studies

What happens when an ethnographer takes up the idiom of contemporary art installation to explore an ethnographic problem? Building on performance ethnography as developed by Dwight Conquergood and D. Soyini Madison, in which the research process itself is cultural performance, this article describes a methodological innovation that encourages a rethinking of ethnographic outputs. Contemporary art installation is generative as well as representational, and challenges ethnographers to think by doing. This article describes one such project to show that while a minimalist installation aesthetic does not on the surface constitute ‘thick description’ in the Geertzian sense, it can be a generative part of a dialogic practice of ethnographic knowledge production. Integrating the interpretive tradition with feminist disability studies, my argument is that art installation offers a possible mode for ethnographers to work through ideas, solicit participation from academic audiences and research participants, create semiotic relationships, and come to know by doing.

Light Side of Design: Professional Vector

2020 ◽  
pp. 23-33
Author(s):  
Elena A. Zaeva-Burdonskaya ◽  
Yuri V. Nazarov
Keyword(s):  
Professional Practice ◽  
Wide Spectrum ◽  
Scientific Basis ◽  
Design Culture ◽  
Interdisciplinary Nature ◽  
Educational Programmes ◽  
Design Activities ◽  
The Subject ◽  
Light Side

This article addresses one of the most actively developing types of design activities – light design. The article comprises quotes of the leading Russian and foreign light design specialists published over the previous five years, as well as the authors’ own conclusions. The thoughts quoted in the article are sometimes opposite to each other and reflect the wide spectrum of professional practice. They reflect the initial opinions of analysts and experts which are often diverging. All of the specialists point at the interdisciplinary nature of the new profession, which imposes additional load on a designer overloaded enough already by the scope and speed of the problems being solved nowadays. The discussion of the new profession of light designer initiated on the pages of professional publications is especially important in view of the development of professional standards and standards of design and architectural education, as well as creation of new educational programmes based on various approaches to the subject in technical and humanitarian institutions. The goal of this article is to introduce light design into the field of fully legitimate sections of design culture, to define the authentic scientific basis of the new creative profession, to initiate a foundation for self-determination of the new synthetic area, which materially affects the state of the profession as a whole and the life standards of a wide variety of consumers. In order to reach the set goal, a comparative and analytical method of study was selected, which allows studying the problem to a large extent and from all angles and finding the ways of overcoming the challenges emerging in the area of the new activity.

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