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Journal articles on the topic 'Installation (arts)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

Dunne, Aidan. "Visual Arts: South: Infrastructures and Installation." Circa, no. 71 (1995): 6. http://dx.doi.org/10.2307/25562765.

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2

Vickery, Jonathan. "INSTALLATION ART." Art History 29, no. 5 (November 2006): 957–63. http://dx.doi.org/10.1111/j.1467-8365.2006.00528_7.x.

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3

Adéagbo, Georges. "INSTALLATION REVIEW." Performance Research 12, no. 3 (November 30, 2007): 146–55. http://dx.doi.org/10.1080/13528160701771394.

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4

Kabakov, Ilya, Margarita Tupitsyn, and Victor Tupitsyn. "About Installation." Art Journal 58, no. 4 (1999): 62. http://dx.doi.org/10.2307/777912.

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5

Kabakov, Ilya, Margarita Tupitsyn, and Victor Tupitsyn. "About Installation." Art Journal 58, no. 4 (December 1999): 62–73. http://dx.doi.org/10.1080/00043249.1999.10791966.

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6

Gray, Timothy, and Michael Williams. "redBARN Installation." Journal of Architectural Education 59, no. 4 (May 2006): 41–47. http://dx.doi.org/10.1111/j.1531-314x.2006.00052.x.

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7

MANRESA, GEMMA ARGÜELLO, and ELISA CALDAROLA. "Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 331–32. http://dx.doi.org/10.1111/jaac.12747.

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8

DAVIS, RANDAL. "‘… and what they do as they're going …’: sounding space in the work of Alvin Lucier." Organised Sound 8, no. 2 (August 2003): 205–12. http://dx.doi.org/10.1017/s1355771803000116.

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This paper considers the early work of Alvin Lucier and its often problematic positioning between concert and installation work as a means of questioning how installation might be defined. Following an introductory survey of Lucier's work, a history of installation in the visual arts is traced through the debate, initiated by Michael Fried, on the ‘theatricality’ of minimalism. Fried's condemnation of the role of the viewer in what he termed ‘literalist’ art became, contrary to his intentions, a central element in thinking about installation work. Fried's position was recently engaged again by Hal Foster in positing a particular phenomenology of minimalist work, which is seen to be directly relevant to the example of Lucier. Having thus established the relevance of this phenomenology to the consideration of sound installations, whether they are themselves minimal works or not, discussion returns to the problematic example of Lucier, and the conclusion that the boundary between concert and installation works may always be permeable, that a precise morphology of installation will remain elusive.
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9

Eiko, Koma, and Matthew Yokobosky. "Movement as Installation." PAJ: A Journal of Performance and Art 22, no. 1 (January 2000): 26. http://dx.doi.org/10.2307/3245908.

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10

Davis, Tom. "On Listening to Installation." Performance Research 15, no. 3 (September 2010): 66–71. http://dx.doi.org/10.1080/13528165.2010.527207.

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11

Bokaris, Panagiotis-Alexandros, Michele Gouiffès, Véronique Caye, Jean-Marc Chomaz, and Christian Jacquemin. "Gardien du Temple: An Interactive Installation Involving Poetry, Performance and Spatial Augmented Reality." Leonardo 53, no. 1 (February 2020): 31–37. http://dx.doi.org/10.1162/leon_a_01569.

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Gardien du Temple is an interactive installation where the concealment or revelation of poems and images is achieved through diminished reality, a new approach to augmented reality using a projector-camera system. By capturing the environment with a camera and canceling parts of the scene by reprojecting inverted images, Gardien du Temple questions the control of our perception, of what is present or not. It reveals new perspectives for installations and performing arts aiming at erasing parts of the physical space.
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12

Shamma, David A. "Autonomous Expressionism: a framework for installation directed Network Arts." International Journal of Arts and Technology 2, no. 1/2 (2009): 62. http://dx.doi.org/10.1504/ijart.2009.024058.

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13

Chemberzhi, Daria. "The importance of installation art for the development of contemporary art in the world and Ukraine." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.

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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
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14

Schildkrout, Enid. "Africa: Permanent Installation." African Arts 30, no. 1 (1997): 72. http://dx.doi.org/10.2307/3337475.

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15

Osborne, P. "Installation, performance, or what?" Oxford Art Journal 24, no. 2 (February 1, 2001): 145–54. http://dx.doi.org/10.1093/oaj/24.2.145.

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16

Dufour, Frank, and Lee Dufour. "DreamArchitectonics: An Interactive Audiovisual Installation." Leonardo 51, no. 2 (April 2018): 105–10. http://dx.doi.org/10.1162/leon_a_01188.

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This article presents the processes that guided the production of the interactive artwork DreamArchitectonics, attempting to render perceivable the altered experience of time characteristic of the dream-state. This project originated with the observation of dream reports that were revealed, across a broad variety of contents, to be relatively invariant in form, with this form appearing to function as a mnemonic artifact allowing the dreamer to actually remember dreams. The details of the representational process applied to oneiric time and manifested in these artifacts have been identified to resonate meaningfully with poetic expression, especially in its relationship to the sensation of movement. DreamArchitectonics aims at producing the context for an experiential synthesis of this intuition and acting as the generator of phenomenological data in a disposition that the authors envision as the most fruitful for collaboration between arts and sciences.
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17

Harley, James, and Shiralee Saul. "A.I.P.: An installation publication." Continuum 8, no. 1 (January 1994): 216–21. http://dx.doi.org/10.1080/10304319409365640.

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18

CALDAROLA, ELISA. "On Experiencing Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 339–44. http://dx.doi.org/10.1111/jaac.12734.

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19

Nikolic, Predrag K., and Adrian David Cheok. "InnerBody: Using Interactive and Multisensory Interfaces to Design Behavioral Change." Leonardo 53, no. 2 (April 2020): 128–34. http://dx.doi.org/10.1162/leon_a_01720.

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The authors propose using interactive and multisensory interfaces to design user behavior change. For this purpose, they used coauthor Nikolic's interactive art installation InnerBody, created to provoke health-care-related behavioral changes by arousing death anxiety. Visitors are invited to undertake a (fake) medical examination by interacting with the installation's human heart-shaped interface. Research outcomes are presented based on visitors' observations and participant responses in interviews after interacting with the installation.
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20

Mandell, Hinda. "‘Monstrous’ craft activism: A city yarn installation that wrought controversy through textile togetherness and community engagement." Craft Research 12, no. 1 (March 1, 2021): 31–50. http://dx.doi.org/10.1386/crre_00039_1.

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Yarn has the potential to be monstrous when placed in public places. It can cause controversy, even when carefully planned as a public art installation involving collaboration with business developers and city stakeholders. This article focuses on the fallout from City Hall on one such yarn installation at a public park in Rochester, New York, in summer 2018 and applies the theoretical lens of ‘monstrosity’ used by Nicola Moffat in the book Textiles, Community and Controversy: The Knitting Map. The article demonstrates that while the twelve original tapestries were well received by the Rochester community, they were deemed ‘not natural’ by City Hall and ordered to be removed, despite permission previously granted by a city official. Ultimately, despite the handcraft controversy, this yarn installation ignited a positive community-based response in favour of public art and ‘textile togetherness’, a term defined in this article. And later the tapestries found a second life in a different community revitalization project. The article offers suggestions for future organizers of yarn installations and calls for more public art to be placed in urban areas as the output of community engagement.
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21

Grillotti, Richard, Andy DiLallo, and Angus G. Forbes. "Resonant Waves: Immersed in Geometry." Leonardo 53, no. 4 (July 2020): 401–7. http://dx.doi.org/10.1162/leon_a_01926.

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This article introduces Resonant Waves, a work of interactive new media art that incorporates cymatic patterns into an immersive installation. The authors describe their research and design process in creating Resonant Waves, and they discuss technical details about the installation, highlighting innovative aspects of the project and contextualizing the project in terms of previous cymatics research and related artistic explorations of complex phenomena. Finally, the authors discuss audience reaction to different installations of the project and identify directions for future research in immersive cymatics.
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22

Mandelbrojt, Jacques. "Multiple-Time Installation." Leonardo 44, no. 1 (February 2011): 92. http://dx.doi.org/10.1162/leon_a_00104.

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The author has for several years been making paintings with an elongated format which he calls time-paintings, as well as a series of paintings; called space-time paintings. In this note the author describes his projects of multiple-time installations which combine these two concepts.
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23

Degarrod, Lydia N. "Making the unfamiliar personal: arts-based ethnographies as public-engaged ethnographies." Qualitative Research 13, no. 4 (April 16, 2013): 402–13. http://dx.doi.org/10.1177/1468794113483302.

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I present the installation Geographies of the Imagination, an arts-based ethnography about long-term exile, as a form of public ethnography that unveils the acquisition and transmission of ethnographic knowledge as interactive, emergent, and creative. I will show how the methods of collaboration and art making created bodily forms of knowledge among the participants and the audience at the exhibition of the installation that have the potential for stimulating new thinking. The use of these methods advanced the acquisition of ethnographic knowledge, and heightened the development of empathy among the participants and the researcher. Furthermore, the public exhibition of this installation allowed the participants to exercise social justice, and created a setting for socially experiencing embodied knowledge.
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24

Di Maro, Daniela, Andrea Bene, Diego Bernini, Simone Bonetti, Giorgio De Michelis, Francesco Tisato, and Gianluca Colombo. "Anastatica Sensibile - Grounding Interactivity on a Natural Process." Leonardo 47, no. 5 (October 2014): 502–3. http://dx.doi.org/10.1162/leon_a_00823.

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Interactive artistic installations represent avant-garde forms of Contemporary Art. They are artistic works able to change their behavior in response to the behavior of the viewers, turning them into (more or less) active participants. This paper discusses an interactive installation the authors developed during the beginning of 2012 for the St. Elmo Castle in Naples, Italy. In this installation the audience determines the evolution of the life cycle of specific plants, in terms of an opening/closing process. The paper proposes some reflections on this case study, especially about the engagement dimension promoted by the work.
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25

Sermon, Paul. "The Teleporter Zone: Interactive Media Arts in the Healthcare Context." Leonardo 40, no. 5 (October 2007): 426–31. http://dx.doi.org/10.1162/leon.2007.40.5.426.

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The author discusses the recent development and implementation of The Teleporter Zone, a permanent interactive art installation commissioned by Guy's and St Thomas' Charity for the new Evelina Children's Hospital in London. The article places the production and conception of this installation in the context of the author's research in telematic and telepresent art over the past 15 years, alongside current research reports on the effects and influences of the arts on healthcare. The author also draws upon personal experiences in order to provide practical insights into the objectives and outcomes of this work in the healthcare context.
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26

Pillai, Shanti. "Discovering India: An installation project." Women & Performance: a journal of feminist theory 19, no. 1 (March 2009): 61–75. http://dx.doi.org/10.1080/07407700802655562.

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27

Truckenbrod, Joan. "Torn Touch: Interactive Installation." Leonardo 33, no. 4 (August 2000): 265–66. http://dx.doi.org/10.1162/leon.2000.33.4.265.

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28

Ocak, Ersan, and Safak Uysal. "Obliterated Bodies: An Installation." Leonardo 41, no. 1 (February 2008): 96–97. http://dx.doi.org/10.1162/leon.2008.41.1.96.

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29

Tubridy, Derval. "Theatre and Installation: Perspectives on Beckett." Contemporary Theatre Review 28, no. 1 (January 2, 2018): 68–81. http://dx.doi.org/10.1080/10486801.2017.1405394.

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30

Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.

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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.
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31

Monico, Francesco. "TAFKAV a Technoetic Installation." Technoetic Arts 7, no. 3 (December 1, 2009): 249–74. http://dx.doi.org/10.1386/tear.7.3.249/1.

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32

Steinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion." Leonardo 34, no. 2 (April 2001): 109–12. http://dx.doi.org/10.1162/002409401750184645.

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The author discusses her interactive architectural installation art. As an artist who works with new media, she finds herself refitting existing genres and creating new languages for her particular art form. Her artwork consists of projected interactive computer animation installations. She investigates illusions that transform the viewer's perception of actual space in a synthesis of the real and the virtual.
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33

Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (October 2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.
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34

Adeliyi, Wendy. "Caribbean Visual Arts, Social Media and Performance." Caribbean Quilt 5 (May 19, 2020): 76–79. http://dx.doi.org/10.33137/caribbeanquilt.v5i0.34384.

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The photographic installation created by María Magdalena Campos-Pons in De las dos Aguas (Between Two Waters), Campos-Pons takes the viewer on a historical journey of the two bodies of ocean water that separate Africa and the Americas Many dualities are seen in the photo, starting with the two women standing on either side of the photograph holding opposites ends of a boat.
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35

MANRESA, GEMMA ARGÜELLO. "Towards a Philosophy of Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 333–38. http://dx.doi.org/10.1111/jaac.12733.

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36

DEPREZ, ELEEN M. "Installation Art and Exhibitions: Sharing Ground." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 345–50. http://dx.doi.org/10.1111/jaac.12739.

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37

ARFARA, KATIA. "Denaturalizing Time: On Kris Verdonck's Performative Installation End." Theatre Research International 39, no. 1 (February 10, 2014): 47–56. http://dx.doi.org/10.1017/s0307883313000540.

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Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists’ performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.
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38

Roberts, Sara. "Early Programming: An Interactive Installation." Leonardo 24, no. 1 (1991): 90. http://dx.doi.org/10.2307/1575488.

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39

Paterson, Nancy. ""Bicycle TV": Expo '92 Installation." Leonardo 25, no. 2 (1992): 163. http://dx.doi.org/10.2307/1575706.

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40

Chen, Chu-Yin. "Quorum Sensing: An Interactive Installation." Leonardo 37, no. 2 (April 2004): 101. http://dx.doi.org/10.1162/0024094041139355.

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41

Tschirner, Peter. "Ultrasonic flow measurement installation." Journal of the Acoustical Society of America 95, no. 2 (February 1994): 1180. http://dx.doi.org/10.1121/1.408440.

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42

Hutchins, Bruce E. "Motor vehicle loudspeaker installation." Journal of the Acoustical Society of America 83, no. 1 (January 1988): 408. http://dx.doi.org/10.1121/1.396172.

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43

Macdonald, Geraldine (Jody), and Judith A. MacDonnell. "6. Transforming Diversity Tensions: Shifting Knowledge Through Arts-Based Practices." Collected Essays on Learning and Teaching 1 (July 1, 2011): 35. http://dx.doi.org/10.22329/celt.v1i0.3175.

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In this paper, the authors engage in a dialogue to illustrate their teaching practice with experiential arts-based diversity learning. The adult education theoretical frameworks of transformative learning/unlearning and experiential learning frame the paper. Examples of experiential arts-based diversity learning include: participating in experiential role-playing during the ‘animal game,’ creating paper figures that represent participant diversities, and creating an impromptu human installation.
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44

Battaglia, Debbora, David Valentine, and Valerie Olson. "Relational Space: An Earthly Installation." Cultural Anthropology 30, no. 2 (May 25, 2015): 245–56. http://dx.doi.org/10.14506/ca30.2.07.

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Anthropology off the Earth opens to new questions and futures for our disciplinary project and reach, while at the same time compelling revisits to classic sites of anthropological inquiry and critique. Taking as a given that human labor and imagination are neither limitable to, nor severable from, terrestrial-scapes of knowledge and practice, we argue that conceptually and materially working with outer space offers a unique opportunity to engage inter/disciplinary questions across many scales: with technologies of inter-being connections and disconnections, with approaches to what counts as nature and culture, and with questions concerning the often-invisible force fields of agency and structures of power.
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45

Alter, Nora M. "Translating the Essay into Film and Installation." Journal of Visual Culture 6, no. 1 (April 2007): 44–57. http://dx.doi.org/10.1177/1470412907075068.

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46

PAINE, GARTH. "Reeds: a responsive environmental sound installation." Organised Sound 8, no. 2 (August 2003): 139–49. http://dx.doi.org/10.1017/s1355771803000037.

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This article discusses the responsive sound installation Reeds. The Reeds project was commissioned by the Melbourne International Festival of the Arts in 2000, and first exhibited in November and December of that year on the Ornamental Lake at the Royal Botanic Gardens, Melbourne. It consists of twenty-one large floating sculptures, modelled to represent clusters of river reeds in immaculate man-made plantings. Each reed pod contains a collection of electronics for either the gathering of weather information or the reception and dispersion of sound. The sound installation gathered data from two real-time weather stations, and produced eight channels of musical output by interpreting the machine unit pulses of the weather data as pulse inputs to Inverse Fast Fourier Transform (IFFT) algorithms. The Reeds project focused on a consideration of multiple streams of chaotic and constantly varying sound. I was interested in exploring whether the sonic environment would remain homogenous even though, unlike a musical ensemble, the control inputs varied randomly and independently of each other. The sound installation was site specific, reflecting directly upon the environment it inhabited, both in terms of its visual quality, and aesthetic of the sound.
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황심숙 and 류지영. "The Research On Teaching Method Of Installation Art Through Formative Arts Play." Journal of Art Education 22, no. ll (December 2007): 227–57. http://dx.doi.org/10.35657/jae.2007.22..010.

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48

Martino, Jacquelyn A. ""Without a Special Object of Worship": An Interactive Book-Arts Computer Installation." Leonardo 30, no. 1 (1997): 11. http://dx.doi.org/10.2307/1576369.

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49

Philipp, Robin, Nigel Gibbons, Pam Thorne, Laura Wiltshire, June Burrough, and John Easterby. "Evaluation of a community arts installation event in support of public health." Perspectives in Public Health 135, no. 1 (September 10, 2014): 43–48. http://dx.doi.org/10.1177/1757913914548155.

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50

Gersie, Alida. "Arts therapies practice in inner-city slums: Beyond the installation of hope." Arts in Psychotherapy 22, no. 3 (January 1995): 207–15. http://dx.doi.org/10.1016/0197-4556(95)00030-9.

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