5
1
Paperback
$70.00
-
PICK UP IN STORECheck Availability at Nearby Stores
Available within 2 business hours
Related collections and offers
70.0
In Stock
Overview
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.
With this book, 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 goes on to address a series of basic questions that get at the heart of what installation art is and how it is defined. Drawing on the work of such well-known artists as Bruce Nauman, Pipilotti Rist, Ilya Kabakov, and many others, Petersen breaks crucial new ground in understanding the conceptual underpinnings of this vibrant form.
With this book, 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 goes on to address a series of basic questions that get at the heart of what installation art is and how it is defined. Drawing on the work of such well-known artists as Bruce Nauman, Pipilotti Rist, Ilya Kabakov, and many others, Petersen breaks crucial new ground in understanding the conceptual underpinnings of this vibrant form.
Product Details
| ISBN-13: | 9788763542579 |
|---|---|
| Publisher: | Museum Tusculanum Press |
| Publication date: | 12/15/2015 |
| Pages: | 507 |
| Product dimensions: | 6.70(w) x 9.60(h) x 1.60(d) |
About the Author
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.
Table of Contents
Preface Introduction Space of perspective, space of experience Situating this book An overview1. Towards a definition Passage works Genre or not? Installation - a definition I Minimum and maximum installations Ergon and parergon - an analytical model2. 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 discourse3. 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 documentation4. 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 postmodernism5. 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 space6. 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 installation7. 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 experience8. Performance theatre between stage and image Avant-garde and minimalism Robert Wilson’s theatre of images Space as frame: Hotel Pro Forma9. 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 installation10. Site and context Site as the source of meaning Site-specificity since the 1990s Site and performance Site as event11. Conclusion: On the threshold between art and culture Installation - a definition II The open work Installation as cross-cultural expression Installation as passage work II12. 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 IndexFrom the B&N Reads Blog
Page 1 of