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Relevant bibliographies by topics / Site-specific art

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Journal articles

Academic literature on the topic 'Site-specific art'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 June 2025

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Journal articles on the topic "Site-specific art"

1

Kurg, Regina-Nino. "Aesthetic consciousness of site-specific art." South African Journal of Philosophy 32, no. 4 (2013): 349–53. http://dx.doi.org/10.1080/02580136.2013.865098.

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2

Tanyildizi, Seda Ozen. "Scale: New Strategies in Site-Specific Art." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 107–12. http://dx.doi.org/10.18844/prosoc.v4i11.2864.

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Today, one of the crucial issues for discussions on site-specific art is scale. The journey of site-specific art, starting with a quite minimal insertion into an empty gallery space is now institutionalised according to utterly different aims, sometimes involving enormous dimensions. However, to discuss the subject of ‘site-specific art’ only with regard to high-budget projects of major institutions would mean ignoring the large group of artists who work outside these controversial circumstances, employ physical features of a site as a tool to convey their artistic approaches, and do not make compromises in the face of institutional pressure. This study analyses new alternatives regarding site-specific art today and reviews these examples through the recent popular issue of scale, considering the necessity for artists to make compromises in line with the demands of institutions or viewers. The data were collected via questionnaires and interviews, with artists who live and work in Berlin. Keywords: Site-specific art, scale, public art.

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3

Kim, Jong Ryeol. "A study on the ‘Site-Specific Art’." Korea Institute of Design Research Society 4, no. 4 (2019): 9–18. http://dx.doi.org/10.46248/kidrs.2019.4.9.

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4

Krilov, I. A. "SITE-SPECIFIC ART-PRACTICE AS AN ALTERNATIVE FORMAT OF THEATRE ART." Arts education and science 1, no. 4 (2021): 47–56. http://dx.doi.org/10.36871/hon.202104006.

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The author of the article attempts to identify and distinguish traditional and alternative formats of theatre art established by the early 20s in the space of home theatre. The author considers the determinants of the emergence and spread of art practices in the domestic theatre art and refers them to the alternative formats of theatre art. The culture of complicity (participation), producer strategies of postdramatism and digitalization of daily occurrence are presented as fundamental grounds for the emergence of such a non-classical creative model as a site-specific art practice in the landscape of Russian theatre art of the XXIst century. The unstable dynamics of the attractiveness of the non-classical creative model in the Russian theatre space is caused by a number of reasons explicitly presented in the article. The accumulated home theatre experience is developing and being realized by the early 20s in traditional and alternative formats of theatre art, which simultaneously influence each other. The actualization of site-specific art practice is evaluated by the author as a positive phenomenon that allows to update and to expand the arsenal of producer strategies, to discover an innovative approach to creating an aesthetic event, to transform the audience participation within the framework of home theatre art and the culture of participation.

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5

MacDonald, Shana. "On Resonance in Contemporary Site-Specific Projection Art." Performance Research 19, no. 6 (2014): 64–70. http://dx.doi.org/10.1080/13528165.2014.985101.

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6

Johnston, D. "Legal I: Site-specific art and changing circumstances." Museum Management and Curatorship 7, no. 3 (1988): 298–300. http://dx.doi.org/10.1016/0260-4779(88)90040-4.

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7

Hawthorne, Lucy. "When the Walls Aren’t White: Site-specific Art in Non-art Museums." International Journal of the Inclusive Museum 3, no. 2 (2010): 121–32. http://dx.doi.org/10.18848/1835-2014/cgp/v03i02/44328.

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8

Bernier, Michelle. "Fred Astaire’s site-specific choreography: High art for the low-art consumer." Studies in Musical Theatre 9, no. 3 (2015): 255–63. http://dx.doi.org/10.1386/smt.9.3.255_1.

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9

Hayes, Lauren. "From Site-specific to Site-responsive: Sound art performances as participatory milieu." Organised Sound 22, no. 1 (2017): 83–92. http://dx.doi.org/10.1017/s1355771816000364.

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This article concerns context-based live electronic music, specifically performances which occur in response to a particular location or space. I outline a set of practices which can be more accurately described as site-responsive, rather than site-specific. I develop a methodological framework for site-responsive live electronic music in three stages. First, I discuss the ambiguity of the termsite-specificby drawing on its origins within the visual arts and providing examples of how it has been used within sound art. I then suggest that site-responsive performance might be a more helpful way of describing this type of activity. I argue that it affords an opportunity for music to mediate the social, drawing on Small’s idea of music as sets of third-order relationships, and Bourriaud’s relational aesthetics. Third, I suggest that with the current renewed trend for performances occurring outside of cultural institutions, it is important to be mindful of the identity of a particular site, and those who have a cultural connection to it. I make reference to a series of works within my own creative practice which have explored these ideas.

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10

Протас, Марина. "ЗАХІДНОЄВРОПЕЙСЬКА КРИТИКА АРТ-ЕПІСТЕМИ SITE-SPECIFIC". Grail of Science, № 29 (19 липня 2023): 418–22. http://dx.doi.org/10.36074/grail-of-science.07.07.2023.071.

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Від 1960-х років модерністська епістема «medium specific», яку обстоював Климент Грінберг, використовуючи маркером передового артизму в контексті автономної естетичної цінності новітнього мистецтва, була витиснена іншою епістемою «site-specific art», яку підтримали колишні мінімалісти й постмодерністські адепти соціополітичного активізму. Конфлікт епістемологічних цінностей спровокував активне обговорювання змін культурних парадигм як з боку незалежних аналітиків, так з боку ангажованої культуріндустрією «інтерпретаційної спільноти», примушуючи західноєвропейських науковців шукати додаткові шляхи вирішення конфронтації діатриби.

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