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Artículos de revistas sobre el tema "Installation art"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 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

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

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3

Bestor, Charles. "Installation art." ACM SIGGRAPH Computer Graphics 37, no. 1 (2003): 16–18. http://dx.doi.org/10.1145/763993.763994.

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4

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

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5

Rios, Patricia, and Aquiles Negrete. "The object of art in science: science communication via art installation." Journal of Science Communication 12, no. 03 (2013): A04. http://dx.doi.org/10.22323/2.12030204.

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Science is part of our everyday live; so is art. Some art installations that link the two require the active presence of the spectator. Thereby they help to raise the awareness, promote understanding, and generate an emotional response from the public. This project rests on the public participation model that seeks to explore the connection between art installations and science communication through experiential learning. In order to test the effectiveness of an art installation communicating science two groups were contrasted. The first was exposed to a list of scientific facts; the second pa

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6

Petrenko, Dmitry. "INSTALLATION ART IN THEUKRAINIAN VISUAL CULTUREOF THE BEGINNING OF THE ХХІ CENTURY". Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", № 66 (28 грудня 2022): 16–22. http://dx.doi.org/10.26565/2306-6687-2022-66-02.

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The article considers Ukrainian installation art. Artistic practices of installation represent one of the most interesting trends in world visual culture, which actively developed during the second half of the ХХ century and at the beginning of the ХХІ century. Installation is a relevant form of modern art, as it is focused on space and thus corresponds to an important guideline of modern culture — the spatial turn. It is proposed to consider the theory of installation by C. Bishop, according to which four types of installation can be distinguished: a phenomenological installation, de-subjecti

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7

WANG, LUQI. "Installation in contemporary Chinese art." Человек и культура, no. 2 (February 2025): 88–97. https://doi.org/10.25136/2409-8744.2025.2.73229.

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The subject of the study is the peculiarities of Chinese installation at its current stage. The object of the research is installation compositions made by Chinese artists. The author examines in detail such aspects of the topic as national specifics, the main themes and typical artistic materials of the Chinese installation. Special attention is paid to the factors that influenced the formation of this artistic trend in China. The importance of the impact of the Western artistic experience is emphasized. Iconic examples of works by Chinese artists and the main trends that stand out in Chinese

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8

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 a

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9

Lilin, You. "The Feminist Installation Art in Modern China." Vestnik of Saint Petersburg State University of Culture, no. 1 (58) (2024): 129–35. http://dx.doi.org/10.30725/2619-0303-2024-1-129-135.

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Feminist installation art in contemporary China is one of the most dynamic and controversial trends in Chinese contemporary art. It reflects the complex processes of social, political and cultural transformation that have been taking place in China in recent decades. Feminist installations express critical attitudes towards traditional gender roles, national identity, environmental issues and globalization. However, feminist installation art in contemporary China has not received sufficient scholarly coverage and analysis in domestic and foreign literature. Existing studies are often limited t

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10

Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 55. http://dx.doi.org/10.25038/am.v0i12.167.

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The subject of this research is the art installation, a spatial creativity that arises in relation between art and architecture. In a more narrow definition, the subject of the research is installations created in the formative period of the 60s and 70s up to the present. As a ‘critical spatial practice’ art installations are conceived in the form of alternative proposals for settlements which enter the field of architectural design. Ideas concerning new sets of relations between the subject and a spatial order indicate the potential of the use of the concept of art installations in architectu

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11

ZHang, Rui. "The interaction of social reality and cultural values in the art of installation." Философия и культура, no. 8 (August 2024): 21–33. http://dx.doi.org/10.7256/2454-0757.2024.8.71412.

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The subject of the study is the cultural definition of the phenomenon of installation as a phenomenon of modern art, in which there is an interaction of social reality and cultural values of society. The author examines in detail the development of installation art, which originated in the 1960s and developed under the influence of Dadaism, surrealism and environmental art. It is shown that the art of installation, which has unique advantages such as conceptuality and openness, has redefined the role and importance of works of art in socio-cultural discourses. Special attention is paid to the

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12

Cuan, Catie, Erin Berl, and Amy LaViers. "Time to compile: A performance installation as human-robot interaction study examining self-evaluation and perceived control." Paladyn, Journal of Behavioral Robotics 10, no. 1 (2019): 267–85. http://dx.doi.org/10.1515/pjbr-2019-0024.

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AbstractEmbodied art installations embed interactive elements within theatrical contexts and allow participating audience members to experience art in an active, kinesthetic manner. These experiences can exemplify, probe, or question how humans think about objects, each other, and themselves. This paper presents work using installations to explore human perceptions of robot and human capabilities. The paper documents an installation, developed over several months and activated at distinct venues, where user studies were conducted in parallel to a robotic art installation. A set of best practic

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13

Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (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 t

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14

Shang, Zikun, Bo Zhang, and Chuanwen Luo. "Innovative Design and Experience of Arduino-based Interactive Installation: Seaweed Dance." Journal of Research in Science and Engineering 7, no. 3 (2025): 29–33. https://doi.org/10.53469/jrse.2024.07(03).7.

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This paper introduces the innovative design and experience of the Arduino-based interactive installation "Dance of the Seaweed". The installation aims to rekindle people's attention and reflection on the natural environment through the combination of art and technology. The installation utilizes ultrasonic sensors to perceive the distance between the audience and the installation, and adjusts the rotation speed of the seaweed model according to the distance changes, enabling intelligent interaction between the audience and the installation. The article elaborates on key aspects such as the ins

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15

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

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16

Mandlis, Lane R. "Art Installation as Method." Qualitative Inquiry 15, no. 8 (2009): 1352–72. http://dx.doi.org/10.1177/1077800409339568.

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17

Abdullah, Sarena, and Carmen Nge Siew Mun. "Spaces of Experimentation and Collaboration in Early 1990s Malaysian Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 6, no. 2 (2022): 47–75. http://dx.doi.org/10.56159/sen.2022.a871491.

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Abstract: At the zenith of the Mahathir era, amidst the economic boom and rapid development of the early 1990s, Malaysian art exhibitions were charting a novel path in the arena of installation and performance art. This paper will closely examine three seminal installation art exhibitions, namely Sook Ching (1990), 2 Installations (1991), and Warbox Lalang Killing Tools (1994), where some of the artists involved chose to perform and/or collaborate with dancers and theatre makers, culminating in some of the earliest experiments with performance art in Malaysia. What sets them apart from other i

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18

Cao, Yuan, Zhi Han, Rui Kong, Canlin Zhang, and Qiu Xie. "Technical Composition and Creation of Interactive Installation Art Works under the Background of Artificial Intelligence." Mathematical Problems in Engineering 2021 (September 25, 2021): 1–11. http://dx.doi.org/10.1155/2021/7227416.

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Interactive installation art is a kind of art that uses specific software and computer hardware as a platform, a platform for interaction between humans and machines or different people through computer hardware. It is an interactive art that uses material installations in nature as a medium. Traditional interactive installation art is not safe and convenient, in order to solve the shortcomings of traditional interactive installation art. This article introduces artificial intelligence technology by studying the overview, development, and application of artificial intelligence. The encryption

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19

Bouzguenda, Ghada. "Eco-Public Installation Through Landscape Architecture for Sustainability in the Urban Space." International Journal of Architecture, Arts and Applications 10, no. 2 (2024): 60–68. http://dx.doi.org/10.11648/j.ijaaa.20241002.14.

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Sustainable art in landscape architecture encompasses activities like installing works of art that are durable, functional, decorative, iconographic, interpretative, integrated, ephemeral, or temporary. Projects of sustainable installation in landscape architecture have highlighted the contributions of public arts in social, cultural, and economic aspects. Studying the environmental impacts of public art in cities is still lacking. The purpose of this article is to highlight the contribution of eco-art in urban space to the development of sustainable cities, through the exam of a selection of

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20

Sui, Guanglong, and Boonsom Yodmalee. "Exploring the Educational Potential of Immersive New Media Art in Urban Commercial Spaces in Dalian City, Liaoning Province, China." Journal of Education and Learning 13, no. 1 (2024): 189. http://dx.doi.org/10.5539/jel.v13n1p189.

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Contemporary Chinese art has witnessed a transformative evolution in the realm of installation art, particularly in the context of immersive new media installations within urban commercial spaces. This study explores the educational potential of immersive new media art in urban commercial spaces in Dalian City, Liaoning Province, China. The research journey spans various stages of Dalian&rsquo;s installation art development, from its early emergence in the 1980s to the prosperous period in the 1990s and its diversification in the 21st century. Key themes explored include the evolution of a

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21

Smart, Jennifer. "Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art." AMP: American Music Perspectives 2, no. 2 (2021): 171–83. http://dx.doi.org/10.5325/ampamermusipers.2.2.0171.

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ABSTRACT Marina Rosenfeld’s artistic practice is guided by the questions of what (and where) music can or should be. Over the last three decades, the artist and composer has explored these questions through both large-scale performances and intimate multimedia gallery installations, which, as she describes it, are invested in “acoustic architectures and experimental forms of sociality.” This article focuses on Rosenfeld’s gallery installations to consider the ways in which her multimedia work transforms the art gallery into a performative space. By closely attending to the materiality of Rosen

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22

Weingarden, Lauren S. "The performative turn at Inhotim: installation art and Baudelairean modernity." Aletria: Revista de Estudos de Literatura 23, no. 3 (2013): 13–30. http://dx.doi.org/10.17851/2317-2096.23.3.13-30.

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This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation

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23

CARRUTHERS, VICKI. "INSTALLATION ART A CRITICAL HISTORY." Art Book 13, no. 2 (2006): 41–42. http://dx.doi.org/10.1111/j.1467-8357.2006.00671.x.

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24

Gay, Pamela. "Installation art: actual meets virtual." Digital Creativity 12, no. 4 (2001): 229–35. http://dx.doi.org/10.1076/digc.12.4.229.3217.

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25

Kent, Charlotte. "Installation Art in Virtual Reality." Digital Culture & Society 8, no. 1 (2022): 117–40. http://dx.doi.org/10.14361/dcs-2022-0107.

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26

Kent, Charlotte. "Installation Art in Virtual Reality." Digital Culture & Society 8, no. 1 (2022): 117–40. http://dx.doi.org/10.14361/dcs-2022-080107.

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27

Basanta, Adam. "Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations." Organised Sound 20, no. 2 (2015): 171–81. http://dx.doi.org/10.1017/s1355771815000059.

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Sound and media installations are rarely considered from a time-based, formal perspective. In order to enable a greater understanding of temporal form in sound installations, I suggest a cross-disciplinary adaptation of musical form to the installation context. Due to the differences between concert and installation presentation practices – including, but not limited to, the increased agency of the mobile visitor – I re-examine form in installation contexts as the particular temporal experience co-produced by the first-person subject as they navigate in, through and out of the work’s frame. By

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28

Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.

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Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.

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29

Seiffarth, Carsten. "Remarks on Sound Stallation." Palíndromo 16, no. 40 (2025): 1–8. https://doi.org/10.5965/2175234616402024e0002.

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This text explores the evolution of sound art from its origins to contemporary practice. Focusing on sound installations and sculptures, the author distinguishes the sound instalation art from broader sound art practices. The importance of space in defining sound art is emphasized, contrasting it with music and other audio-based art forms. The text traces the historical development of sound installations, highlighting key figures and movements, while also critiquing recent trends that prioritize technology over spatial experience. A clear distinction is drawn between sound art and sound instal

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30

Chen, Xiaowei, and Zainuddin Ibrahim. "A Comprehensive Study of Emotional Responses in AI-Enhanced Interactive Installation Art." Sustainability 15, no. 22 (2023): 15830. http://dx.doi.org/10.3390/su152215830.

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This study presents a comprehensive literature review on the convergence of affective computing, interactive installation art, multi-dimensional sensory stimulation, and artificial intelligence (AI) in measuring emotional responses, demonstrating the potential of artificial intelligence in emotion recognition as a tool for sustainable development. It addresses the problem of understanding emotional response and measurement in the context of interactive installation art under artificial intelligence (AI), emphasizing sustainability as a key factor. The study aims to fill the existing research g

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31

Buț, Georgiana. "Merging Art and Installation: Exhibition Installation in the 20th Century." Studia Universitatis Babeș-Bolyai Philosophia 64, no. 1 (2019): 35–62. http://dx.doi.org/10.24193/subbphil.2019.1.03.

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32

Bahtsetzis, Sotirios. "Deleuze’s meta-cinematic framing: Multimodal meaning-making in Installation Art." Punctum. International Journal of Semiotics 08, no. 02 (2022): 11–31. http://dx.doi.org/10.18680/hss.2022.0014.

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The article discusses multimodal meaning-making in the context of video and multi-media installation art and related curatorial practices. It draws on the Deleuzian concept of pure duration or ‘time-image,’ understood as a Foucauldian dispositive (Panagia) and, thus, as a broader heuristic device in discussing the viewer’s experience engulfed in installations. It discusses non-discursive aspects of meaning-making while focusing on the viewer/ participant’s subjectifying, multi-sensorial, kinaesthetic, performative, and time-based experience of an exhibition. We discuss installation art as a te

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33

Dwi Kartika, I. Gusti Kade, I. Wayan Karja, and I. Wayan Mudana. "Exploration of FSRD-ISI Denpasar Garden In Installation Art." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 1 (2022): 61–68. http://dx.doi.org/10.59997/citakara.v2i1.1543.

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This thesis contains a description of the creation of installation art with the title Exploration of FSRD ISI Denpasar Park in Installation Art. Based on the experience gained while studying at ISI Denpasar. By practicing sensitivity in his work, the author conducts exploration in the garden of FSRD ISI Denpasar in order to explore ideas and get material for discussion in the creation of installation art. This creation uses the Warih Wisatsana creation method as a writer and curator of fine arts, starting with basic research, exploration, experiments or sketches, embodiment, and dissemination.

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34

Rui, Zhang. "A STUDY OF INSTALLATION ART AS A SOCIOCULTURAL PHENOMENON." International Journal of Advanced Studies in Language and Communication 7, no. 1 (2024): 3–10. https://doi.org/10.12731/ijaslc233.

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As a modern art form, installation art has become an important component of contemporary art, embodying rich social and cultural connotations. This paper explores the interactive relationship between installation art and social culture, cultural identity and expression, as well as its application and value in public spaces. Firstly, installation art reflects social phenomena through the emotions and thoughts of the artist, revealing the living conditions and cultural perceptions of people in different historical contexts. Secondly, installation art serves as a vessel for cultural identity, exp

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35

Xuanhong, Liu, and Jin Wan Park. "The relationship between interactive installation art and traditional art." TECHART: Journal of Arts and Imaging Science 6, no. 2 (2019): 29–31. http://dx.doi.org/10.15323/techart.2019.5.6.2.29.

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36

Zhang, Qian. "Interactive Contemporary Art: Interactive Emotional Experience in Installation Art." Education Reform and Development 7, no. 3 (2025): 75–79. https://doi.org/10.26689/erd.v7i3.9980.

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With the constant development of contemporary art and Internet technology, new media technology has gradually attracted attention from the public. Art starts to transcend plat expression and visual effects. Meanwhile, breakthrough and innovation have been achieved regarding the diversity and pluralism of artistic expression. Due to its interactive, experiential, and innovative characteristics, interactive installation art has been widely researched. As the form of artistic expression changes, a transformation from two-dimensional space to three-dimensional space, artistic works are endowed wit

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37

Zhao, Xing. "Reshaping Sacred Spaces: Experimental Video Installation Art in Multireligious Venues." Advances in Humanities Research 9, no. 1 (2024): 69–76. http://dx.doi.org/10.54254/2753-7080/9/2024112.

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In contemporary Europe, the dialogue between contemporary art and religion is becoming increasingly frequent. It has become a widespread phenomenon in France to exhibit contemporary art installations and works in religious venues, such as monasteries, chapels, churches, temples, and synagogues. Meanwhile, within a globalized context, religious spaces in China are also transforming toward more diverse uses. Video installation, as a rapidly evolving and highly significant branch of contemporary art, offers a specific avenue for exploring this trend due to its unique expressive approach, presenta

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38

Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (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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39

CondÉ, Carol, and Karl Beveridge. "Pulp Fiction: A Photo Installation." Canadian Theatre Review 99 (June 1999): 16–24. http://dx.doi.org/10.3138/ctr.99.003.

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We met in 1967 and have been working together for almost twenty-five years. In 1969 we had moved to New York to seek fame and fortune as sculptors and painters. We became politicized there, partly in reaction to the insane competitiveness of the art market but also in response to the larger politics of feminism, anti-racism and the left. In 1975 we became involved with a collective named Art and Language and produced a magazine titled The Fox. It became notorious for its critical discussion of the New York art scene and raised, along with the work of many other artists, political issues in rel

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40

Combrink, Louisemarié. "A Narratological Perspective on Installation Art." de arte 56, no. 2-3 (2021): 29–51. http://dx.doi.org/10.1080/00043389.2021.1986275.

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41

Bush, Sarah B., Karen S. Karp, Victoria Miller Bennett, Liz Popelka, and Jennifer Nadler. "Framing Measurement: An Art Gallery Installation." Mathematics Teaching in the Middle School 18, no. 8 (2013): 474–83. http://dx.doi.org/10.5951/mathteacmiddscho.18.8.0474.

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42

Karlholm, Dan. "The Last Book on Installation Art?" Konsthistorisk tidskrift/Journal of Art History 86, no. 2 (2016): 134–37. http://dx.doi.org/10.1080/00233609.2016.1174734.

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43

OnacloV. "Hijacking Documentary into Video Installation Art." Hyperrhiz: New Media Cultures, no. 3 (August 2007): 1. http://dx.doi.org/10.20415/hyp/003.e01.

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44

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

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45

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

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46

Zurita Delgado, Claudia. "The art installation in posrevolutionary Cuba." UN AÑO DE DISEÑARTE MM1, no. 26 (September 27, 2024): 68–79. http://dx.doi.org/10.24275/issn.2954-3770.n26.a91.

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47

Romat, Muhammad Sukor, Muhammad Khairi Shamsudin, Ahmad Fauzi Amir Hamzah, and Noor Azzanny Jamaludin. "Lubang Indah: The pothole installation art." Environment-Behaviour Proceedings Journal 7, SI9 (2022): 241–46. http://dx.doi.org/10.21834/ebpj.v7isi9.4271.

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The effects of the epidemic of COVID-19 can be seen in the natural deterioration of the roads. Self-isolation and curfews during the pandemic further exacerbate the mental health problem. Through this project, the researchers hoped to convey the negative impression of the pothole-strewn streets through an art installation. Using an artistic medium is one way to counteract the negative perception people have of potholes. In this project, freshly picked flowers, with only stems and no branches, were placed in the pothole. In this way, actual activity can be recorded based on the design of pothol

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Sopyan, Kudhori, Nur Hajja Syarifah, Cahyana Agung, Sudarwanto Aan, Wastiwi Setiawati Sri, and Fajar Ariyanto Ahmad. "Creating Ambience through Flower Palettes at the BAL Floral Exhibition Antwerpen, Belgium." International Journal of Social Science and Human Research 07, no. 12 (2024): 9113–23. https://doi.org/10.5281/zenodo.14504495.

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The Floralien 2024 exhibition at The Meir Palace, Antwerp, Belgium, presented a floral installation themed “BAL FLORAL” inspired by the work of James Ensor. Through Yayasan Sumbang Kawruh Indonesia (SUKRI), Indonesia exhibited an installation made from local materials such as banana leaves, coconut leaves, and corn cloves combined with colorful and brightly colored flowers. This research analyses the art elements and color theory in the installation. Results showed that contrasting colors, such as red, yellow, orange, blue, purple, and green, strengthened the visual appeal and conv

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Sîrbu, Irina. "Art Installation as a Research Tool in Interdisciplinary School Projects." Journal of Educational Theory and Practice DIDACTICA PRO... 24, no. 6 (148) (2024): 46–49. https://doi.org/10.5281/zenodo.14545368.

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Our study explores the integration of installation art within interdisciplinary educational projects, focusing on its potential to engage students in addressing complex social, environmental, and historical problems. By examining various projects, such as exhibitions highlighting environmental pollution or historical events like the Holocaust, our research demonstrates that creating installation art allows students to explore and understand complex topics in a creative way. The findings indicate that involving students in the creation of installations fosters critical thinking, enhances their

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Steinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion." Leonardo 34, no. 2 (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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