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.
About the Author
MONICA E. MCTIGHE is an assistant professor of art and art history at Tufts University.
Table of Contents
Expanding the Frame: Installation Art in the 1970s
The Politics of Representation: Archive and Memory in the Work of Renée Green
The Poetics of Experience: Ann Hamilton’s Installations and Photographs
Camera Obscura: Memory in Film and Video Installations in the 2000s
Conclusion: Installation Art and Memory
What People are Saying About This
“McTighe’s critical-narrative text allows vicarious embodied experience of installations. Through well-written examples, she shows just how much analytic description is necessary to parse these complex works and the introspections they can evoke.”
“What frames works of installation art? Monica McTighe compellingly argues that photography constitutes the art form's unacknowledged foundation, both in terms of subject matter and archival documentation. In putting photo-based practices center stage, Framed Spaces offers many insightful observations that are sure to spark lively discussion among artists and art historians alike.”