discovering art installations

Ron Weiss

Art installation Reflection

Directing Theory 2F

10-24-22

I really fuck with these art instalations.

I have this vision of a black and white checkered room, floors, walls, ceiling, all distorted and moving at different levels. It is a completely warped room that dips, and rises but our eyes can’t perceive the changes in elevation, or they are tricked into thinking that the ups are downs and the downs are up. This is a vision I have had for years, not sure where it came form, but suddenly I have examples of what it might become.

I love thatan installation can be anything I want, and it’s not so reliant on the publics opinion, yet at the same time it is completely though the lens of the public. It can serve their needs even when I didn’t intend it to. I can be selfish and creat ehwatver my impulse wants, and it may also serve someone else!

I also love these because I am such a visual/ auditorial creator. Writing words is not my strong suit at the moment, but I LOVE creating pictures. It’s never been something I second guessed if I was “doing correctly” or if it would appeal to someone elses tastes. I often will manipulate people, or objects in thespace and when it clicks into place I just know it. It feels right. This feels like what I do but in a category that is not use it for straight plays only.

Something that feels liek a barrier is that I don’t have access to these huge rtecources. But maybe I do more than I think. I am crafty, I can handle a drill. And I don’t even need that, I’m assuming we are going to make one tomorrow. But the huge creations in the articles, or the elaborate warped checkerboard vision I have in my head, how do I make those right now? I think I need to find people who have resources. Or start smaller and work up.

I also think people can be my building blocks. In high school with Mollye Maxner, we used to go by the blue pyramids at the entrance to campus and stand in a circle around them. One at a time peop,e would go in and strike a pose, then another would go in and strike another pose- so there were two people posing together in the space at a time. Then the first person would leave and another person would come in. So the cycle continued. This would create a compilation of images, living sculptures and I LOVED this. It was creating paintings with human bodies. Configuring ourselves to tell stories and when something looked gopod to me DAMN did it feel good. It was so satsisfying.

I just saw an instagram post of some friends of mine in israel walking through TLV, and they were wearing a sparkly suit and dress. The caption said “always overdressed.” But what was interesting was the contrast between their outfits and the run down parts of the city. I’ve always been fascinated by the harsh juxtaposition of architecture in TLV. So much so that one summer I would just walk around taking pictures of everything that help that juxtaposition in a single frame. Its that kind of thought process that feels like a baby installation to me. This is the idea but how do I make it into fruition? I know the answer is just to do it. To try it. How else is anything ever done? Thats the only way to figure things out. Try to figure them out.

I also love the quote “Life is much more interesting than art. The line between art and life should be kept as fluid, and perhaps indistinct, as possible.” It was in one of the articles. I feel this. I used to really only believe in this. I wanted to just put people on stage and watch them because real is so much more interesting. I have since grown to love the power of a manipulated reality that  is staging a play, but im still fascinated by the idea. What is the nature of me as a human that I find so much interest in watching others? Where does that coem from? Why is it taboo? Is it taboo? Should ther ebe shame attached to watching p[eople? If not why aren’t humans in zoos? Now I don’t really want to put people in a zoo. But watching real people is so fascinating.

I need to just do. I need to just make, Not worry about what it will look like, just follow the impulse to create and to paint and ply and brush and drill and everything. Say something, say nothing, it doesn’t matter but I really want to start to play. I also love the idea of being influential, and helping reinvent the things I care about, but even if thats selfish, that must be later.

Extra things that stood out to me:

An art installation is a three-dimensional visual artwork, often created for a specific place (in situ) and designed to change the perception of space.

As mentioned previously, the distinction between this art being considered "installation art" and "land art" comes down to the artists' statement of their own work, and the viewers' perception as well, since the artist clearly isn't going to be present to guide each viewers' opinion as to how to define what they are seeing. The art, in other words, speaks for itself, and, in a real sense, doesn't care what the viewer thinks of it.

Finally, an installation can be either:

• mobile (or re-mountable);

• permanent (or fixed);

• ephemeral (or temporary).

The point of much installation art is to express something truly epic, or a feeling that can only be felt in the world or context of that particular piece.

YAYOI KUSAMA

JUDY CHICAGO

Olafur Elliason

Bruce Nauman

ALLAN Kaprow

So far, we've discussed famous installation pieces, artists, and the background of the medium. Installation art has been disruptive in such a short amount of time and has given us some incredible artists with impactful work from all over the world.

Well, there are three main reasons why we need it: critical thinking, inspiration, and emotion.

"Any form of art is a form of power; it has impact; it can affect change - it can not only move us, it makes us move." - Ossie Davis

It demands critical thinking and emotion of its viewers, and it inspires other artists to create.

Whether you're personally a fan of this art style or not, there is something to be said about the impact it can have on us when it's created with care.

Another challenge is making sure that the installation can be safely accessed and interacted with by viewers

The main actor in the total installation, the main centre toward which everything is addressed, for which everything is intended, is the viewer.

From the 1960s the creation of installations has become a major strand in modern art. This was increasingly the case from the early 1990s when the ‘crash’ of the art market in the late 1980s led to a reawakening of interest in conceptual art (art focused on ideas rather than objects). 

“Life is much more interesting than art. The line between art and life should be kept as fluid, and perhaps indistinct, as possible.”

Cold Dark Matter

The Weather Project

Svayambh

Infinity roomsRain Room

continues to constantly reinvent itself.