Results by title
13 books match the query 'Installations (Art)'
Aspects
Fred Sandback's SculptureEdward A. Vazquez
University of Chicago Press, 2017
Stretching lengths of yarn across interior spaces, American artist Fred Sandback (1943–2003) created expansive works that underscore the physical presence of the viewer. This book, the first major study of Sandback, explores the full range of his art, which not only disrupts traditional conceptions of material presence, but also stages an ethics of interaction between object and observer.
Drawing on Sandback’s substantial archive, Edward A. Vazquez demonstrates that the artist’s work—with all its physical slightness and attentiveness to place, as well as its relationship to minimal and conceptual art of the 1960s—creates a link between viewers and space that is best understood as sculptural even as it almost surpasses physical form. At the same time, the economy of Sandback’s site-determined practice draws viewers’ focus to their connection to space and others sharing it. As Vazquez shows, Sandback’s art aims for nothing less than a total recalibration of the senses, as the spectator is caught on neither one side nor the other of an object or space, but powerfully within it.
Drawing on Sandback’s substantial archive, Edward A. Vazquez demonstrates that the artist’s work—with all its physical slightness and attentiveness to place, as well as its relationship to minimal and conceptual art of the 1960s—creates a link between viewers and space that is best understood as sculptural even as it almost surpasses physical form. At the same time, the economy of Sandback’s site-determined practice draws viewers’ focus to their connection to space and others sharing it. As Vazquez shows, Sandback’s art aims for nothing less than a total recalibration of the senses, as the spectator is caught on neither one side nor the other of an object or space, but powerfully within it.
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Bound to Appear
Art, Slavery, and the Site of Blackness in Multicultural AmericaHuey Copeland
University of Chicago Press, 2013
At the close of the twentieth century, black artists began to figure prominently in the mainstream American art world for the first time. Thanks to the social advances of the civil rights movement and the rise of multiculturalism, African American artists in the late 1980s and early ’90s enjoyed unprecedented access to established institutions of publicity and display. Yet in this moment of ostensible freedom, black cultural practitioners found themselves turning to the history of slavery.
Bound to Appear focuses on four of these artists—Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson—who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure—both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the “peculiar institution.” The first book to examine in depth these artists’ engagements with slavery, Bound to Appear will leave an indelible mark on modern and contemporary art.
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Digital Baroque
New Media Art and Cinematic FoldsTimothy Murray
University of Minnesota Press, 2008
A surprising and original application of theories of new media art
In this intellectually groundbreaking work, Timothy Murray investigates a paradox embodied in the book’s title: What is the relationship between digital, in the form of new media art, and baroque, a highly developed early modern philosophy of art? Making an exquisite and unexpected connection between the old and the new, Digital Baroque analyzes the philosophical paradigms that inform contemporary screen arts.
Examining a wide range of art forms, Murray reflects on the rhetorical, emotive, and social forces inherent in the screen arts’ dialogue with early modern concepts. Among the works discussed are digitally oriented films by Peter Greenaway, Jean-Luc Godard, and Chris Marker; video installations by Thierry Kuntzel, Keith Piper, and Renate Ferro; and interactive media works by Toni Dove, David Rokeby, and Jill Scott. Sophisticated readings reveal the electronic psychosocial webs and digital representations that link text, film, and computer. Murray puts forth an innovative Deleuzian psychophilosophical approach—one that argues that understanding new media art requires a fundamental conceptual shift from linear visual projection to nonlinear temporal folds intrinsic to the digital form.[more]
Doris Salcedo
Edited by Julie Rodrigues Widholm and Madeleine Grynsztejn
University of Chicago Press, 2015
A mountain of chairs piled between buildings. Shoes sewn behind animal membranes into a wall. A massive crack running through the floor of Tate Modern. Powerful works like these by sculptor Doris Salcedo evoke the significance of bearing witness and processes of collective healing. Salcedo, who lives and works in Bogotá, roots her art in Colombia’s social and political landscape—including its long history of civil wars—with an elegance and poetic sensibility that balances the gravitas of her subjects. Her work is undergirded by intense fieldwork, including interviews with people who have suffered loss and endured trauma from political violence. In recent years, Salcedo has become increasingly interested in the universality of these experiences and has expanded her research to Turkey, Italy, Great Britain, and the United States.
Published to accompany Salcedo’s first retrospective exhibition and the American debut of her major work Plegaria muda, Doris Salcedo is the most comprehensive survey of her sculptures and installations to date. In addition to featuring new contributions by respected scholars and curators, the book includes over one hundred color illustrations highlighting many pieces from Salcedo’s thirty-year career. Offering fresh perspectives on a vital body of work, Doris Salcedo is a testament to the power of one of today’s most important international artists.
Published to accompany Salcedo’s first retrospective exhibition and the American debut of her major work Plegaria muda, Doris Salcedo is the most comprehensive survey of her sculptures and installations to date. In addition to featuring new contributions by respected scholars and curators, the book includes over one hundred color illustrations highlighting many pieces from Salcedo’s thirty-year career. Offering fresh perspectives on a vital body of work, Doris Salcedo is a testament to the power of one of today’s most important international artists.
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Framed Spaces
Photography and Memory in Contemporary Installation ArtMonica E. McTighe
Dartmouth College Press, 2012
While earlier theorists held up “experience” as the defining character of installation art, few people have had the opportunity to walk through celebrated installation pieces from the past. Instead, installation art of the past is known through archival photographs that limit, define, and frame the experience of the viewer. Monica E. McTighe argues that the rise of photographic–based theories of perception and experience, coupled with the inherent closeness of installation art to the field of photography, had a profound impact on the very nature of installation art, leading to a flood of photography– and film–based installations. With its close readings of specific works, Framed Spaces will appeal to art historians and theorists across a broad spectrum of the visual arts.
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Irina Nakhova
Museum on the EdgeJane A. Sharp
Rutgers University Press, 2019
Throughout her extensive career, Russian conceptual artist Irina Nakhova has frequently pushed the limits of what constitutes art and how we experience the art museum. One of her famous early pieces, for instance, transformed a room in her very own Moscow apartment into an art installation.
Released in conjunction with Nakhova’s first museum retrospective exhibition in the United States, this book includes many full-color illustrations of her work, spanning the entirety of her forty-year career and demonstrating her facility with a variety of media. It also includes essays by a variety of world-renowned curators and art historians, each cataloging Nakhova’s artistic innovations and exploring how she deals with themes of everyday life, memory, viewer engagement, and moral responsibility. It concludes with a new interview with Nakhova herself, giving new insight into her creative process and artistic goals. Irina Nakhova: Museum on the Edge provides a vivid look at the work of a visionary artist. Published in partnership with the Zimmerli Museum.
Released in conjunction with Nakhova’s first museum retrospective exhibition in the United States, this book includes many full-color illustrations of her work, spanning the entirety of her forty-year career and demonstrating her facility with a variety of media. It also includes essays by a variety of world-renowned curators and art historians, each cataloging Nakhova’s artistic innovations and exploring how she deals with themes of everyday life, memory, viewer engagement, and moral responsibility. It concludes with a new interview with Nakhova herself, giving new insight into her creative process and artistic goals. Irina Nakhova: Museum on the Edge provides a vivid look at the work of a visionary artist. Published in partnership with the Zimmerli Museum.
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Object—Event— Performance
Art, Materiality, and Continuity Since the 1960sEdited by Hanna B. Hölling
Bard Graduate Center, 2021
A volume considering questions of conservation that arise with new artistic mediums and practices.
Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved.
This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object—Event—Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators.
Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved.
This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object—Event—Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators.
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On Art
Ilya Kabakov
University of Chicago Press, 2018
During the 1960s and 1970s, the Russian conceptual artist Ilya Kabakov was a galvanizing figure in Moscow's underground art community, ultimately gaining international prominence as the “leader” of a band of artists known as the Moscow Conceptual Circle. Throughout this time, he created texts that he would distribute among his friends, and by the late 1990s his written production amounted to hundreds of pages.
Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists.
This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume and there exists no equivalent work in any language.
Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists.
This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume and there exists no equivalent work in any language.
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Performing Chance
The Art of Alison Knowles In/Out of FluxusNicole L. Woods
University of Chicago Press, 2026
The first monographic study of American artist Alison Knowles, a significant yet overlooked cofounder of the Fluxus movement.
Alison Knowles stands out as the sole female artist among the founders of Fluxus, yet she has remained an enigmatic, underrecognized figure in the history of art. Performing Chance fills a gap in the record, bringing to light Knowles’s transformative body of work as it evolved from abstract painting in the late 1950s, to silkscreens, print media, and performance in the early 1960s, to groundbreaking works in digital poetry, acoustical art, and large-scale installations in the late 1960s-70s.
Through her access to previously unpublished archival materials and direct interviews with the artist, Nicole L. Woods provides close readings of pivotal works, disclosing the ways Knowles instituted formal tactics that moved beyond modernist painting, championed principles of indeterminacy and chance, and fostered sociopolitical consciousness. Situating Knowles’s innovations in various media within the distinct cultural contexts of Wiesbaden, London, Paris, New York City, and Los Angeles, Performing Chance brings this key artist back to her rightful place as a leader of the postwar avant-garde and provides a nuanced history of the role of women artists in Fluxus and beyond.
Alison Knowles stands out as the sole female artist among the founders of Fluxus, yet she has remained an enigmatic, underrecognized figure in the history of art. Performing Chance fills a gap in the record, bringing to light Knowles’s transformative body of work as it evolved from abstract painting in the late 1950s, to silkscreens, print media, and performance in the early 1960s, to groundbreaking works in digital poetry, acoustical art, and large-scale installations in the late 1960s-70s.
Through her access to previously unpublished archival materials and direct interviews with the artist, Nicole L. Woods provides close readings of pivotal works, disclosing the ways Knowles instituted formal tactics that moved beyond modernist painting, championed principles of indeterminacy and chance, and fostered sociopolitical consciousness. Situating Knowles’s innovations in various media within the distinct cultural contexts of Wiesbaden, London, Paris, New York City, and Los Angeles, Performing Chance brings this key artist back to her rightful place as a leader of the postwar avant-garde and provides a nuanced history of the role of women artists in Fluxus and beyond.
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Pope.L
Showing Up to WithholdThe Renaissance Society at the University of Chicago
University of Chicago Press, 2014
Iconoclast and artist Pope.L uses the body, sex, and race as his materials the way other artists might use paint, clay, or bronze. His work problematizes social categories by exploring how difference is marked economically, socially, and politically. Working in a range of media from ketchup to baloney to correction fluid, with a special emphasis on performativity and writing, Pope.L pokes fun at and interrogates American society’s pretenses, the bankruptcy of contemporary mores, and the resulting repercussions for a civil society. Other favorite Pope.L targets are squeamishness about the human body and the very possibility of making meaning through art and its display.
Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.
Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.
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Space, Site, Intervention
Situating Installation ArtErika Suderburg
University of Minnesota Press, 2000
In Space, Site, Intervention, some of today's most prominent art critics, curators, and artists view installation art as a diverse, multifaceted, and international art form that challenges institutional assumptions and narrow conceptual frameworks. Together, the essays in Space, Site, Intervention investigate how installation resonates within modern culture and society, as well as its ongoing influence on contemporary visual culture.
Contributors: C. Ondine Chavoya, John Coleman, Sean Cubitt, Colin Gardner, Chrissie Iles, Miwon Kwon, Ernest Larsen, Tiffany Ana López, Catherine Lord, Kevin McMahon, James Meyer, Alessandra Moctezuma, Leda Ramos, Laurence A. Rickels, Barbara Maria Stafford, Susan Stewart, Marita Sturken, and John C. Welchman.
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Still Moving
Between Cinema and PhotographyKaren Beckman and Jean Ma, eds.
Duke University Press, 2008
In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another.
Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become.
Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan,
Jean Ma, Janet Sarbanes, Juan A. Suárez
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Your Place in the Multiverse
Jean LoweJohn C. Welchman
University Press of Colorado, 2021
American artist Jean Lowe’s work revolves around the intersection of art history, popular culture, environmentalism, commerce, and politics. Your Place in the Multiverse: Jean Lowe is a survey of her work drawn from the past seventeen years featuring many of her most important installations. Lowe employs wit and satire to create work that is both entertaining and seductive as well as intellectually provocative. Lowe is an American pop/conceptual multimedia artist whose work carefully and humorously unpacks the ironies and challenges of our 21st century culture. This will be the first museum exhibition of Lowe’s work since 2000 and the first publication on her work to include scholarly essays by two art historians.
Dating from 2003-2020, the exhibition consists of fourteen separate installations: Empire Style, 2003; Dr’s Notes, 2004; Baby Grand, 2005; Love for Sale and Look 20 Years Younger, 2008-11; Discount Barn, 2008-2020; Bookshelf Prints, 2013; Last Call, 2013-20; Posters and Pallet, 2014; Last Call, 2017-21, Forgotten Corner, 2019; Garden Carpet, 2019; Art and About with Bill Mackelry, 2019-2020, Town Crier (Self-Portrait as Analog), 2020, and POW!, 2021. Lowe’s installations are primarily comprised of unpretentious media such as papier-mâché and paint, which are coupled with a sophisticated and literary use of language, and a loose painterly style. Room-sized and incorporating artist made furniture, rugs, and even pianos, these beautifully-staged installations are often overwhelming, playing both on sensory overload and the irony of abundance as presented daily in our consumer culture. Through her work Lowe references European art, especially German Baroque and French Empire style, for their exceptionally ornamental and theatrical style. By conflating the French Empire style with the stylistics of American consumer culture, and big box store marketing, Lowe offers up a striking, thoughtful and revealing comparison of cultural contexts.
POW! (2020) and Art and About with Bill Mackelry (2019-2020), shown for the first time in this exhibition, look at the imbalance of male to female power in the art-world. Art and About with Bill Mackelry is a video piece in which Lowe stars as a mock male interviewer named Bill Mackelry, who interviews the artist Jean Lowe on a visual arts talk show. The installation POW! will be filled with ersatz portraits of women as fierce, crazy hags by painters such as Picasso, Willem De Kooning, and Frances Bacon painted directly on the wall.
Your Place in the Multiverse: Jean Lowe is organized by Executive Director and Chief Curator Katie Lee-Koven for the Nora Eccles Harrison Museum of Art. This fully illustrated accompanying publication, of the same title, will be the first to include art historical essays with in-depth analysis of Lowe’s work written by USU Art History Assistant Professor Marissa Vigneault and John C. Welchman, professor of Art History and Critical Studies at the University of California, San Diego.
Dating from 2003-2020, the exhibition consists of fourteen separate installations: Empire Style, 2003; Dr’s Notes, 2004; Baby Grand, 2005; Love for Sale and Look 20 Years Younger, 2008-11; Discount Barn, 2008-2020; Bookshelf Prints, 2013; Last Call, 2013-20; Posters and Pallet, 2014; Last Call, 2017-21, Forgotten Corner, 2019; Garden Carpet, 2019; Art and About with Bill Mackelry, 2019-2020, Town Crier (Self-Portrait as Analog), 2020, and POW!, 2021. Lowe’s installations are primarily comprised of unpretentious media such as papier-mâché and paint, which are coupled with a sophisticated and literary use of language, and a loose painterly style. Room-sized and incorporating artist made furniture, rugs, and even pianos, these beautifully-staged installations are often overwhelming, playing both on sensory overload and the irony of abundance as presented daily in our consumer culture. Through her work Lowe references European art, especially German Baroque and French Empire style, for their exceptionally ornamental and theatrical style. By conflating the French Empire style with the stylistics of American consumer culture, and big box store marketing, Lowe offers up a striking, thoughtful and revealing comparison of cultural contexts.
POW! (2020) and Art and About with Bill Mackelry (2019-2020), shown for the first time in this exhibition, look at the imbalance of male to female power in the art-world. Art and About with Bill Mackelry is a video piece in which Lowe stars as a mock male interviewer named Bill Mackelry, who interviews the artist Jean Lowe on a visual arts talk show. The installation POW! will be filled with ersatz portraits of women as fierce, crazy hags by painters such as Picasso, Willem De Kooning, and Frances Bacon painted directly on the wall.
Your Place in the Multiverse: Jean Lowe is organized by Executive Director and Chief Curator Katie Lee-Koven for the Nora Eccles Harrison Museum of Art. This fully illustrated accompanying publication, of the same title, will be the first to include art historical essays with in-depth analysis of Lowe’s work written by USU Art History Assistant Professor Marissa Vigneault and John C. Welchman, professor of Art History and Critical Studies at the University of California, San Diego.
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