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Journal articles on the topic 'Site-specific art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Elfandi, Amy, and Harry Kurniawan. "Site-Specific Art Installation." ATRIUM: Jurnal Arsitektur 11, no. 1 (2025): 37–50. https://doi.org/10.21460/atrium.v11i1.287.

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Title: Site-Specific Art Installation; Entrance of ArtJog “Arts in Common” at Jogja National Museum The art installation serves as an object that fills a space in a building, an imaginary space, or a space in the open air. The installation possesses aesthetic characteristics that defy rigid boundaries in fine art, which are typically considered standard, and it also lacks limitations in the use of media or materials. ArtJog is one of the premier art exhibition events in Yogyakarta, featuring art installations. ArtJog originated from art fairs that always featured a central art installation pla

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2

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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MacDonald, Shana. "The Psychogeographies of Site-Specific Art." Media Theory 2, no. 1 (2018): 204–21. http://dx.doi.org/10.70064/mt.v2i1.707.

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Contemporary efforts at urban revitalization have encouraged an increased production of site-specific public art events that temporarily inhabit popular city hubs. These â€œpop upâ€ interventions range from loosely assembled happenings to the more institutionally supported all-night art festivals like Nuit Blanche. This paper examines the types of geospatial memory produced and inscribed through small-scale, participatory, site-specific urban art events. It considers how this work participates in forms of placemaking which both enact provisional and iterative forms of assembly while also mark

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4

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

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5

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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6

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 lands

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7

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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8

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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9

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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10

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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11

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

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12

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 шл

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Supendi, Eko, and Satriana Didiek Isnanta. "STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS”." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (2020): 33–43. http://dx.doi.org/10.33153/acy.v12i1.3140.

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ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited t

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14

Kenney, Denise, and Nancy Holmes. "Site-specific performance and the art of not leaving." Choreographic Practices 9, no. 1 (2018): 31–43. http://dx.doi.org/10.1386/chor.9.1.31_1.

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15

Coleman, Lucinda. "Performing Water: Site-specific dance-making as liquid art." Choreographic Practices 11, no. 1 (2020): 101–22. http://dx.doi.org/10.1386/chor_00014_1.

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The Remnant Dance Project, Culaccini, developed site-specific dance movement in response to the waters of the Taleggio Valley, Italy, during the Nature, Art and Habitat Residency (NAHR) (2018). The intention was to respond to the Enna River system through documenting dance movement made in the region via film, photography and reflective writing. The practice-led research process was shared on the daily blog, ‘The drop of the day’. At the close of the NAHR, a short dance film, Performing Water, was made to further interrogate the nature of site-specific dance-making in water and the notion of w

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16

Gaiger, J. "Dismantling the Frame: Site-Specific Art and Aesthetic Autonomy." British Journal of Aesthetics 49, no. 1 (2009): 43–58. http://dx.doi.org/10.1093/aesthj/ayn058.

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17

Nagao, T., and Y. Fukushima. "Source- and Site-Specific Earthquake Ground Motions." Engineering, Technology & Applied Science Research 10, no. 4 (2020): 5882–88. http://dx.doi.org/10.48084/etasr.3612.

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Seismic design is the preparation for earthquake ground motions considering the seismicity and seismic amplification properties of the ground at the target site. However, the effects of source, path, and site amplification characteristics are not sufficiently anticipated in seismic codes. Regarding the source and path characteristics, earthquakes that have the strongest influence on the target site should be considered specifically, and, concerning seismic amplification, the effects of not only a shallow subsurface but also a deep subsurface should be considered. This article takes the design

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18

Nagao, T., and Y. Fukushima. "Source- and Site-Specific Earthquake Ground Motions." Engineering, Technology & Applied Science Research 10, no. 4 (2020): 5882–88. https://doi.org/10.5281/zenodo.4016124.

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Seismic codes stipulate earthquake ground motions by considering the seismicity and seismic amplification properties of the ground at the target site. However, the effects of source, path, and site amplification characteristics are not sufficiently anticipated in seismic codes. Regarding the source and path characteristics, earthquakes that have the strongest influence on the target site should be considered specifically, and, concerning seismic amplification, the effects of not only a shallow subsurface but also a deep subsurface should be considered. This article takes the design spectra of

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19

Roberts, Margaret. "Models of Site-Related Art Practice: Critical Potential and Mobility in the Phenomenological Model of Site-Specific Art." International Journal of the Arts in Society: Annual Review 4, no. 3 (2009): 215–22. http://dx.doi.org/10.18848/1833-1866/cgp/v04i03/35656.

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20

Willard, Mary Beth. "When Public Art Goes Bad: Two Competing Features of Public Art." Open Philosophy 2, no. 1 (2019): 1–9. http://dx.doi.org/10.1515/opphil-2019-0001.

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AbstractNot all public art is bad art, but when public art is bad, it tends to be bad in an identifiable way. In this paper, I develop a Waltonian theory of the category of public art, according to which public art standardly is both accessible to the public and minimally site-specific. When a work lacks the standard features of the category to which it belongs, appreciators tend to perceive the work as aesthetically flawed. I then compare and contrast cases of successful and unsuccessful public art to show that accessibility and site-specificity are features which tend to preclude the other.

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21

Strejčková, Hana. "Site-Specific Author’s Drama." Amfiteater 9, no. 2021-2 (2022): 216–32. http://dx.doi.org/10.51937/amfiteater-2022-1/216-232.

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The article discusses the role of the playwright in contemporary site-specific drama and the role of the director of site-specific performance. The study aims at three main areas: the author’s drama based on the recent history of the 20th century; the performative potential of the commonness and of oral history; and contemporary site-specific drama. As a playwright, the author focuses on the memories of witnesses and socially taboo topics. As a theatre director, she examines approaches for transforming into theatrical language the memory of place, the collection of data from oral history and b

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22

Kochetkova, Ekaterina S. "Horizon as a Symbolic Category in Contemporary Site-Specific Art." Actual Problems of Theory and History of Art 10 (2020): 576–85. http://dx.doi.org/10.18688/aa200-3-51.

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23

Kim, Min Ji. "Study on Spatiality in Site-Specific Art and Locative Media." KOREA SCIENCE & ART FORUM 19 (March 31, 2015): 89. http://dx.doi.org/10.17548/ksaf.2015.03.19.89.

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24

Lin, Nancy P. "Keepers of the Waters: Experiments in xianchang art practice in 1990s China." Journal of Contemporary Chinese Art 7, no. 2-3 (2020): 325–43. http://dx.doi.org/10.1386/jcca_00032_1.

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The environmental art project, Keepers of the Waters, organized by the American artist Betsy Damon, invited artists from the United States and China to create artworks in and around a polluted urban river in Chengdu in 1995 and again in Lhasa, Tibet the following summer. The site-specific event occurred outdoors – outside institutional spaces of art – and showcased experimental performance and installation, formats that had previously been excluded from state-run museums in China due to state censorship. Although recent scholarship has examined socially engaged projects of the early 2000s that

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25

Kuppers, Petra. "Dancing Material History: Site-Specific Performance in Michigan." TDR/The Drama Review 61, no. 3 (2017): 132–40. http://dx.doi.org/10.1162/dram_a_00677.

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Site-specific dance in and by Northern Michigan lakes brings Petra Kuppers experientially into a different relation to environmental materiality. Autoethnographic method merges with an attention to the materiality of art practice and the difference dance makes. It beckons: let’s merge. Dancing bodyminds in space, in change, in time. Disability, precarity, economy, indigenous and settler history. Breathe in and out with the pull of edge land, the beach, the calmness of Michigan summer lakes.

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26

Rustiyanti, Sri. "Situs Megalitik Tutari sebagai Sumber Inspirasi Penciptaan Koreografi Site-Specific “Tutari MegArt Lithic”." Dance and Theatre Review 4, no. 1 (2021): 1–9. http://dx.doi.org/10.24821/dtr.v4i1.5457.

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The Tutari Megalithic Site is a large stone age civilization site located in Doyo Lama Village, Waibu District, Jayapura Regency, Papua. Visually, on this site, there are stones with various motifs of prehistoric paintings on them. However, if it is studied in-depth, primarily through the perspective of choreography, this site has a broad potential to be a source of inspiration for creating works of art. Collaborating with previous research from the Papua Archeology Center, the creation of this Tutari MegArt Lithic artwork is focused on specific parts of the Tutari Megalithic site that can be

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27

Lee, Su Jeong. "Feminist practice in site-specific art of Korean artists since 2000." Korean Feminist Philosophy 30 (November 30, 2018): 183–214. http://dx.doi.org/10.17316/kfp.2018.11.30.183.

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28

Navarro, Henry. "Fashion as public art: Strengthening communities through site-specific fashion collections." Fashion, Style & Popular Culture 1, no. 3 (2014): 445–57. http://dx.doi.org/10.1386/fspc.1.3.445_1.

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29

Kim. "Encounters with the Material: Krzysztof Wodiczko and Site-Specific Media Art." Discourse 38, no. 2 (2016): 173. http://dx.doi.org/10.13110/discourse.38.2.0173.

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30

Hill, Leslie. "‘Push the Boat Out’: Site-Specific and Cyberspatial in Live Art." New Theatre Quarterly 14, no. 53 (1998): 43–47. http://dx.doi.org/10.1017/s0266464x00011714.

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As a mutually-illuminating contrast to the academic exploration in the previous article of the potential of CD-ROM as a means both of teaching a ‘classical’ playtext and of analyzing the multiple choices involved in its performance, the two following pieces explore the potential of the new technologies in the creation and documentation of live art. Focusing upon her performance Push the Boat Out, given as part of the Jezebel Season at the Institute of Contemporary Arts in 1995, Leslie Hill first outlines the thinking behind her use of the Internet and the Web – as yet more economic than CD-ROM

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Sward, Brandon. "How to make site-specific art when sites themselves have histories." Athanor 39 (November 22, 2022): 81–94. http://dx.doi.org/10.33009/fsu_athanor131122.

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The term “site-specific” is generally used to describe art self-consciously made to exist in a certain place, effectively making the site a static background for the dynamism of art. If we accept this definition, then how are we to account for the fact that sites themselves have histories? This paper addresses this question by analyzing four performances by the Chicano/a collective Asco: Stations of the Cross, First Supper (After a Major Riot), Walking Mural, and Instant Mural. Whittier Boulevard carries a portion of El Camino Real, which once connected the Catholic missions of Alta California

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Kwon, Miwon, Rízzia Rocha, and Anna Luiza Coli. "site à comunidade no novo gênero de arte pública." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 13, no. 28 (2023): 7–30. http://dx.doi.org/10.35699/2238-2046.2023.45740.

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No quarto capítulo de seu livro One place after another: site-specific art and locational identity, Miwon Kwon analisa atentamente o projeto Culture in Action: new public art in Chicago, que aconteceu na década de 1990, construindo uma importante relação entre o desenvolvimento das práticas artísticas site-specific e o novo gênero de arte pública.

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Babb, Genie. "Center and Edge of the World: Frontiers of Site-Specific Performance in Alaska." TDR/The Drama Review 52, no. 3 (2008): 61–78. http://dx.doi.org/10.1162/dram.2008.52.3.61.

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Chicago performance artist and educator Brian Jeffery staged Look Again 2002: Alaskan Landscapes in Transition, comprised of six site-specific performances and numerous related events. Like other performance art works at the turn of the 21st century, Look Again exemplifies a shift from an artist-centered conception of art to one that is more audience-centered.

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34

Chu, Lin Ya, and Min Lee. "The Role of Site-specific Art in Public Spaces in Rural Areas of Japan: A Case Study on the Convergence of Site-specific Art and Regional Regeneration." Korean Society of Science & Art 39, no. 5 (2021): 427–42. http://dx.doi.org/10.17548/ksaf.2021.12.30.427.

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35

Pavoni, Andrea. "Speculating on (the) urban (of) art: (un)siting street art in the age of neoliberal urbanisation." Horizontes Antropológicos 25, no. 55 (2019): 51–88. http://dx.doi.org/10.1590/s0104-71832019000300003.

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Abstract This paper addresses the current co-optation of street art into an uncritical aesthetic supplement to the process of neoliberal urbanisation, by focusing on its unresolved relation with its own site. This is done in three steps. First, via a perambulating immersion into the complexity of a specific site. Second, via a critical engagement with the form and politics of contemporary street art. Third, via a strategic speculation on the relation between the notions of art, urban and site. Street art’s current impasse, I argue, paradoxically depends on its incapacity to become properly urb

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Chagas, Deivisson Dias. "A QUESTÃO DO ESPAÇO E A ENUNCIAÇÃO DO SUJEITO NO TRABALHO DE DANA AWARTANI / The issue of space and the enunciation of the subject in the work of Dana Awartani." arte e ensaios 26, no. 39 (2020): 107–19. http://dx.doi.org/10.37235/ae.n39.9.

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O presente artigo analisa a questão do processo colonial e de subalternização problematizado na obra “I went away and forgot you. A while ago I remembered. I remembered I’d forgotten you. I was dreaming”, da artista saudita Dana Awartani. Misto de site specific e registro fílmico de performance, o trabalho dialoga com a insurgência de novos sujeitos na produção de arte contemporânea, denominados por Gayatri C. Spivak de “sujeitos subalternos”, e com as mudanças ocorridas entre as décadas de 1960 e 1990 em torno do conceito de site specific, como teorizado pela crítica de arte Miow Kwon.Palavra

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Matejić, Bojana. "The conjunction of art and life: Ontology of the site." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 223–30. http://dx.doi.org/10.5937/saj1502223m.

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Art becoming life and its relative convergence to the ideality of autarky (aὐtάrceia), implies a maxim which coincides with the emancipatory promise of Art. NEO-Marxist authors have prescribed this maxim to Marx's early works, particularly to the thesis from his Economic and Philosophic Manuscripts of 1844, and elaborated it further on these grounds. This maxim has been applied by many avant-garde movements up to the contemporary moment: Bertold Brecht's political theatre, Guy Debord's situationism, site-specific art, fluxus, Joseph Beuys's social sculpture, etc. The common denominator of all

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38

Daugherty, Jay. "Our Land, Our People: A Reflection of Tibetan Buddhist Space in Contemporary Art." HIMALAYA 40, no. 2 (2021): 50–58. http://dx.doi.org/10.2218/himalaya.2021.6589.

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This article illustrates how a contemporary Tibetan artist disrupts expectations in the creation of his political art. Utilizing Robert Smithson’s dialogic of site and non-site, Tenzing Rigdol’s 2011 site-specific installation Our Land, Our People is interpreted as a reenactment of a culturally specific historical practice of moving space. This approach shares important similarities to historical cases in which physical spaces were relocated to and within Tibet, allowing for the application of 20th century theories arising in the spatial turn to contemporary Tibetan art.

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Jina Kim. "Rereading Womanhouse (1972): A Pioneer of Feminist Art and Site-specific Installation." Journal of Humanities, Seoul National University 75, no. 3 (2018): 173–220. http://dx.doi.org/10.17326/jhsnu.75.3.201808.173.

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Townsend, S. "Book Review: One Place after Another: Site-Specific Art and Locational Identity." Visual Communication 4, no. 3 (2005): 372–75. http://dx.doi.org/10.1177/1470357205056749.

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김영옥. "Site-Specific Art Practices as Intervention in the Era of Globalization: Focused on Two “Dongducheon” Art Projects." Women's Studies Review 27, no. 1 (2010): 73–109. http://dx.doi.org/10.18341/wsr.2010.27.1.73.

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42

Payne, Daniel. "Exhibiting information literacy: site-specific art and design interventions at the Ontario College of Art & Design." Art Libraries Journal 33, no. 1 (2008): 35–41. http://dx.doi.org/10.1017/s0307472200015200.

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The Ontario College of Art & Design is a university that provides undergraduate education to a markedly diverse student body. Although the Dorothy H. Hoover Library offers proactive information literacy programming targeting academic research needs, only peripheral support was traditionally given to studio practice. To rectify this gap the reference librarians, in dialogue with selected design and art faculty, endorsed a Library exhibition program using the Library as both case study and exhibition site. An analysis of several works featured in a recent exhibition demonstrates how art can

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Hauna, Miftakhul, and Silvester Pamardi. "New Site-Specific Dance: a New Style of Intelligent Bodies." Journal of Social Research 2, no. 8 (2023): 2835–50. http://dx.doi.org/10.55324/josr.v2i8.1365.

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The development of works of art born by extraordinary people is increasingly here, giving birth to new styles born from the corner of space outside conventional stage spaces. This phenomenon began to arise starting with the ideas of art criticism of conventional stages, after which several works were born that began to be performed outside conventional stages. Dance is one of the objects explored in artists' creative spaces, including academic spaces, so that the process of the creative space is born dance works with a new identity based on the development of science and technology. Dance that

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Syahmahendra, Bernado Udayana. "SIKLUS HIDUP GULMA DALAM PENCIPTAAN KARYA SENI SITE-SPECIFIC." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 16, no. 1 (2024): 1–10. http://dx.doi.org/10.33153/brikolase.v16i1.5815.

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Gulma adalah tumbuhan liar yang dapat hidup di segala tempat termasuk buatan manusia. Tanah, tanaman budidaya, tembok beton, hingga trotoar. Meskipun eksistensinya dianggap merugikan, di satu sisi gulma memiliki daya hidup yang menginspirasi penulis dalam kehidupan personal hinngga divisualisasikan dalam karya seni rupa. Untuk mencapai tujuan dari penelitian artistik ini, metode penciptaan menggunakan pendekatan Practice Based Research. Pemilihan gulma yang memiliki sifat adaptif mengarahkan penulis untuk mengeksplorasi tema dengan pendekatan abstrak ekspresionis yang kemudian diterapkan denga

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Sarkar, Asmita. "Ecology of site-specific painting and drawing: Embodied and empathic mark-making in urban cites." Visual Inquiry 10, no. 1 (2021): 13–30. http://dx.doi.org/10.1386/vi_00023_1.

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The idea of ecology has changed drastically during the last few decades. The trend in scholarship has changed from exclusively studying nature and natural objects, to include human’s relationship to it. In this context the present article aims to look at the ecological implication of site-specific practice: concentrating on contemporary drawing and paintings realized in the context of urban India. To this aim some aspects of site-specific mark-making would be analysed seeking support from philosopher Merleau-Ponty’s (1993, [1945] 2008) idea of phenomenological embodiment and the theory of ecol

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Pilcher, Jeremy. "Network Art Unbound?" Leonardo 45, no. 5 (2012): 470–71. http://dx.doi.org/10.1162/leon_a_00447.

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Internet art that visualizes data has art historical precedents that invite its critical effect to be engaged with as rhetoric and not only an accurate representation of a specific state of affairs. Art that opens an engagement with a representation of data as an iteration of an underlying system invites an awareness of the contingency of that system. The nature of the internet makes it an effective site for this to occur. Internet art may allow an awareness of how a system might become more ethical in the future.

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Han, Jung-Mi. "A Study on the Expansion of Public Art to Dance -Based on Site Specific Dance Performance." Dance Research Journal of Dance 78, no. 3 (2020): 217–30. http://dx.doi.org/10.21317/ksd.78.3.12.

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Scarfone, Amy. "One Place After Another: Site-Specific Art and Locational Identity by Miwon Kwon." Rhetoric Society Quarterly 37, no. 2 (2007): 209–12. http://dx.doi.org/10.1080/02773940701266106.

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Zaffi, Leonardo, Antonio Capestro, and Stefania Viti. "Code-compliant structural design for site specific works of art: a case-study." Procedia Structural Integrity 29 (2020): 157–64. http://dx.doi.org/10.1016/j.prostr.2020.11.152.

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Doss, Erika. "Public Art, Public Feeling: Contrasting Site-Specific Projects of Christo and Ai Weiwei." Public Art Dialogue 7, no. 2 (2017): 196–229. http://dx.doi.org/10.1080/21502552.2017.1343612.

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