View source for Installation art

{{Short description|Three-dimensional work of art}}
{{see also|Interactive art}}
{{More footnotes needed|date=April 2024}}
[[File:Whiteread tate 1.jpg|thumb|[[Rachel Whiteread]], ''Embankment'' at [[Tate Modern]], London]]
[[File:Mad Crab.jpg|thumb|An installation art of Mad [[crab]] created with waste plastics and similar non-biodegradable wastes at [[Fort Kochi]], India.]]

'''Installation art''' is an artistic genre of [[three-dimensional]] works that are often [[site-specific art|site-specific]] and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called [[public art]], [[land art]] or [[art intervention]]; however, the boundaries between these terms overlap.

==History==
[[File:La pareja en La Menesunda 1965.jpg|thumb|left|Visitors [[Interactive art|interact]] with a couple in bed, inside one of the many environments of ''[[La Menesunda]]'' (1965), one of the earliest large-scale installations in art history.<ref name="menesundatate">{{cite web|url=https://www.tate.org.uk/whats-on/tate-liverpool/exhibition/marta-minujin-la-menesunda|title=Journey through this maze-like installation and become a part of the art|access-date=March 29, 2020|publisher=[[Tate]]}}</ref><ref name="menesundanewmuseum">{{cite web|url=https://www.newmuseum.org/exhibitions/view/marta-minujin|title=Marta Minujín: Menesunda Reloaded|date=June 26, 2019|access-date=March 29, 2020|publisher=[[New Museum]]}}</ref>]]
Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces. The [[genre]] incorporates a broad range of everyday and natural materials, which are often chosen for their "[[:wikt:evocative|evocative]]" qualities, as well as [[new media]] such as [[video]], [[sound]], [[performance]], [[immersive virtual reality]] and the [[internet]]. Many installations are [[Site-Specific Art|site-specific]] in that they are designed to exist only in the space for which they were created, appealing to qualities evident in a [[Three-dimensional space|three-dimensional]] immersive medium. Artistic collectives such as the [[AMNH Exhibitions Lab|Exhibition Lab]] at New York's [[American Museum of Natural History]] created environments to showcase the natural world in as realistic a medium as possible. Likewise, [[Walt Disney Imagineering]] employed a similar philosophy when designing the multiple immersive spaces for [[Disneyland]] in 1955. Since its acceptance as a separate discipline, a number of institutions focusing on Installation art were created. These included the [[Mattress Factory]], Pittsburgh, the Museum of Installation in London, and the [[Fairy Doors of Ann Arbor, MI]], among others.

Installation art came to prominence in the 1970s but its roots can be identified in earlier artists such as [[Marcel Duchamp]] and his use of the [[readymade]] and [[Kurt Schwitters]]' ''Merz'' art objects, rather than more traditional [[craft]] based [[sculpture]]. The "intention" of the artist is paramount in much later installation art whose roots lie in the [[conceptual art]] of the 1960s. This again is a departure from traditional sculpture which places its focus on [[Art#Forms, genres, media, and styles|form]]. Early non-Western installation art includes events staged by the [[Gutai group]] in Japan starting in 1954, which influenced American installation pioneers like [[Allan Kaprow]].
[[Wolf Vostell]] shows his installation ''6 TV Dé-coll/age'' in 1963<ref>[http://www.medienkunstnetz.de/works/television-decollage/ Wolf Vostell, ''6 TV Dé-coll/age'', 1963]</ref> at the [[Smolin Gallery]] in New York.

==Installation==
[[File:Petzel shapes.jpeg|thumb|left|[[Allan McCollum]].''The Shapes Project'', 2005/06]]
''Installation'' as nomenclature for a specific form of art came into use fairly recently; its first use as documented by the Oxford English Dictionary was in 1969. It was coined in this context, in reference to a form of art that had arguably existed since prehistory but was not regarded as a discrete category until the mid-twentieth century. [[Allan Kaprow]] used the term "Environment" in 1958 (Kaprow 6) to describe his transformed indoor spaces; this later joined such terms as "project art" and "temporary art."

Essentially, installation/environmental art takes into account a broader sensory experience, rather than floating framed points of focus on a "neutral" wall or displaying isolated objects (literally) on a pedestal. This may leave [[space]] and [[time]] as its only dimensional constants, implying dissolution of the line between "art" and "life"; Kaprow noted that "if we bypass 'art' and take nature itself as a model or point of departure, we may be able to devise a different kind of art... out of the sensory stuff of ordinary life".

==Gesamtkunstwerk==
The conscious act of artistically addressing all the senses with regard to a total experience made a resounding debut in 1849 when [[Richard Wagner]] conceived of a ''[[Gesamtkunstwerk]]'', or an operatic work for the stage that drew inspiration from ancient [[Greek theater]] in its inclusion of all the major art forms: [[painting]], [[writing]], [[music]], etc. (Britannica). In devising operatic works to commandeer the audience's senses, Wagner left nothing unobserved: [[architecture]], ambience, and even the [[audience]] itself were considered and manipulated in order to achieve a state of total artistic immersion. In the book "Themes in Contemporary Art", it is suggested that "installations in the 1980s and 1990s were increasingly characterized by networks of operations involving the interaction among complex architectural settings, environmental sites and extensive use of everyday objects in ordinary contexts. With the advent of video in 1965, a concurrent strand of installation evolved through the use of new and ever-changing technologies, and what had been simple video installations expanded to include complex interactive, [[multimedia]] and virtual reality environments".

==Art and Objecthood==
[[File:Franzoesischer Dom - Festival of Lights 2011.jpg|thumb|''Guardians of Time'', [[Manfred Kielnhofer]], [[Festival of Lights (Berlin)]] French Cathedral, Berlin, Velotaxi 2011]]
In "Art and Objecthood", [[Michael Fried]] derisively labels art that acknowledges the viewer as "[[Theatre|theatrical]]" (Fried 45). There is a strong parallel between installation and theater: both play to a viewer who is expected to be at once immersed in the [[perception|sensory]]/[[narrative]] experience that surrounds him and maintain a degree of self-identity as a viewer. The traditional theater-goer does not forget that they have come in from outside to sit and take in a created experience; a trademark of installation art has been the curious and eager viewer, still aware that they are in an exhibition setting and tentatively exploring the novel universe of the installation.

The artist and critic [[Ilya Kabakov]] mentions this essential phenomenon in the introduction to his lectures "On the "Total" Installation": "[One] is simultaneously both a 'victim' and a viewer, who on the one hand surveys and evaluates the installation, and on the other, follows those associations, recollections which arise in him[;] he is overcome by the intense atmosphere of the total illusion". Here installation art bestows an unprecedented importance on the observer's inclusion in that which he observes. The expectations and social habits that the viewer brings with him into the space of the installation will remain with him as he enters, to be either applied or negated once he has taken in the new environment. What is common to nearly all installation art is a consideration of the experience in toto and the problems it may present, namely the constant conflict between disinterested criticism and sympathetic involvement. [[Television]] and [[video]] offer somewhat immersive experiences, but their unrelenting control over the [[rhythm]] of passing time and the arrangement of images precludes an intimately personal viewing experience. Ultimately, the only things a viewer can be assured of when experiencing the work are his own thoughts and preconceptions and the basic rules of space and time. All else may be molded by the artist's hands.

The central importance of the [[Subjective experience|subjective]] point of view when experiencing installation art, points toward a disregard for traditional [[Platonism|Platonic]] image theory. In effect, the entire installation adopts the character of the [[simulacrum]] or flawed [[statue]]: it neglects any ideal form in favor of optimizing its direct appearance to the observer. Installation art operates fully within the realm of sensory perception, in a sense "installing" the viewer into an artificial system with an appeal to his subjective perception as its ultimate goal.

==Interactive installations==
[[File:10.000 moving cities.jpg|thumb|[[Marc Lee]] ''10.000 Moving Cities'', 2010-ongoing, [[National Museum of Modern and Contemporary Art]] Seoul]]
[[File:Maurizio bolognini genoa.JPG|thumb|An urban interactive art installation by [[Maurizio Bolognini]] (Genoa, 2005), which everybody can modify by using a cell phone.]]
An [[Interactive Art|interactive installation]] frequently involves the audience acting on the work of art or the piece responding to users' activity.<ref>{{cite news|last1=Younis|first1=Lauren|title=Hearts and Scissors Exhibit to Open|url=http://bl-ids-website.ads.iu.edu/news/story.aspx?id=66728|access-date=23 November 2014|date=March 5, 2009|quote="Installation art can facilitate a direct, immediate interaction with the viewer," [Cindy] Hinant said.|archive-url=https://web.archive.org/web/20141129170709/http://bl-ids-website.ads.iu.edu/news/story.aspx?id=66728|archive-date=29 November 2014|url-status=dead}}</ref> There are several kinds of interactive installations that artists produce, these include [[Internet art|web]]-based installations (e.g., [[Telegarden]]), [[Art gallery|gallery]]-based installations, [[Digital art|digital]]-based installations, [[Electronics|electronic]]-based installations, [[IPhone art|mobile]]-based installations, etc. Interactive installations appeared mostly at end of the 1980s (''Legible City'' by [[Jeffrey Shaw]], ''La plume'' by [[Edmond Couchot]], Michel Bret...)  and became a genre during the 1990s, when artists became particularly interested in using the participation of the audiences to activate and reveal the meaning of the installation.   [[File:Paul Kuniholm Installation Art, for Storefronts, a Shunpike program.jpg|thumb|Paul Kuniholm Installation Art, for Storefronts, a Shunpike program]]

==Immersive virtual reality==

With the improvement of [[technology]] over the years, artists are more able to explore outside of the boundaries that were never able to be explored by artists in the past.<ref>[[Joseph Nechvatal]], ''Immersive Ideals / Critical Distances''. [[LAP Lambert Academic Publishing]]. 2009, p. 14</ref> The [[Media (arts)|media]] used are more experimental and bold; they are also usually cross media and may involve sensors, which plays on the reaction to the audiences' movement when looking at the installations. By using virtual reality as a medium, [[immersive virtual reality]] art is probably the most deeply interactive form of art.<ref>[[Joseph Nechvatal]], ''Immersive Ideals / Critical Distances''. [[LAP Lambert Academic Publishing]]. 2009, pp. 367-368</ref> By allowing the spectator to "visit" the representation, the artist creates "situations to live" vs "spectacle to watch".<ref>[[Maurice Benayoun]], ''Maurice Benayoun Open Art'', Nouvelles éditions Scala, 2011, French version, {{ISBN|978-2-35988-046-5}}</ref>

==Gallery==
<gallery widths="180" heights="180" perrow="5">
File:Firoz Mahmud Sucker Aichi Triennale 13.JPG|[[Firoz Mahmud]], ''Sucker'wfp21'' aircraft sculptural installation at [[Aichi Arts Center]].
File:NEORIZON.jpg|[[Maurice Benayoun]], ''Neorizon'', urban interactive art installation, eArts Festival Shanghai, 2008.

File:Interiorpic2.jpg|[[Georges Lentz]], ''[[Cobar Sound Chapel]]'', permanent sound installation, 2022.

File:Eberhard Bosslet Installation Unterstützende Massnahmen anmassend I Kassel cocumenta 8 1987 .jpg|[[Eberhard Bosslet]], ''Anmaßend I'', [[documenta]] 8, [[Kassel]], [[Germany]] 1987.

File:Aleya-milton-becerra.jpg|[[Milton Becerra]], ''Ale'ya'', Durban Segnini Gallery, [[Miami]], 2009.<ref>[[Milton Becerra]] Book Analysis of a process over time - 2007 - {{ISBN|980-6472-21-7}}</ref>

File:Vasiliy Ryabchenko. "Big Bembi", installation, barrels, linear lamps, deer horns, 1994.jpg|[[Vasiliy Ryabchenko]], ''Big Bembi'', 1994.

File:Transmediale-2010-Ryoji Ikeda-Data-Tron-1.jpg|[[Ryoji Ikeda]], ''data.tron'' at [[transmediale]], [[Berlin]], 2010.

File:Christian Boltanski. Signatures.jpg|[[Christian Boltanski]], ''Signatures'', 2011.

File:Dombis 1687.jpg|[[Pascal Dombis]], ''Irrationnal Geometrics'', 2008.

File:My Inner Beast portrait.jpg| [[Jens Galschiøt]], ''[[My Inner Beast]]'', sculpture, 1993. Exhibited in twenty cities across Europe without permission of the authorities.

File:Test Site by Carsten Höller.jpg|[[Carsten Höller]]. ''[[Test Site]]'', [[Tate Modern]], 2006. Members of public slid down as much as five stories inside tubular slides.

File:Wolf Vostell, Fiebre de Automóvil, 1973, Instalación.JPG|[[Wolf Vostell]], ''Auto-Fever'', 1973, Museo Vostell Malpartida.

File:African Adventure, Tate Modern, November 2016 (01).JPG|[[Jane Alexander (artist)|Jane Alexander]], ''African Adventure'' ,1999-2002, [[Tate Modern]], Bankside, London, England, November 2016.

File:DavidSpriggsArt.jpg|[[David Spriggs (artist)|David Spriggs]], ''Vision II'', 2017.

File:H Cronhammar.JPG|[[Ingvar Cronhammar]], installation in [[Frederiksberg]] / [[Denmark]] 2015.

File:Shalechet (Menashe Kadishman).jpg|[[Menashe Kadishman]], ''Shalechet'' ([[Abscission]]), [[Jewish Museum Berlin]].
</gallery>

==See also==
{{div col|colwidth=30em}}
*[[Appropriation (art)]]
*[[Art intervention]]
*[[Classificatory disputes about art]]
*[[Conceptual art]]
*[[Environmental sculpture]]
*[[Found object]]
*[[Interactive art]]
*[[Modern art]]
*[[Neo-conceptual art]]
*[[Performance art]]
*[[Sound art]]
*[[Sound installation]]
*[[Street installations]]
*[[Video installation]]
{{div col end}}

==References==
{{reflist}}

==Bibliography==
* Cole, Ina, ''From the Sculptor’s Studio: Conversations with Twenty Seminal Artists'' (London: Laurence King Publishing Ltd, 2021) {{ISBN|9781913947590}} {{OCLC|1420954826}}.
* Bishop, Claire. Installation Art a Critical History. London: Tate, 2005.
* Coulter-Smith, Graham. Deconstructing Installation Art. [https://web.archive.org/web/20180623163711/http://www.installationart.net/ Online resource]
* Ferriani, Barbara. ''Ephemeral Monuments: History and Conservation of Installation Art''. Los Angeles: Getty Publications, 2013. {{ISBN|978-1-60606-134-3}}
* Fried, Michael. ''Art and Objecthood''. In ''Art and Objecthood: Essays and Reviews''. Chicago: University of Chicago Press, 1998.
* [[Oliver Grau|Grau, Oliver]] ''Virtual Art, from Illusion to Immersion'', MIT Press 2004, {{ISBN|0-262-57223-0}}
* "Installation [Environment].''Grove Art Encyclopedia''. 2006. Grove Art Online. 30 January 2006 [http://www.groveart.com/shared/views/article.html?section=art.041385].
* "Installation." Oxford English Dictionary. 2006. Oxford English Dictionary Online. 30 January 2006 [http://dictionary.oed.com/].
* "Install, v." ''Oxford English Dictionary''. 2006. Oxford English Dictionary Online. 30 January 2006 [http://dictionary.oed.com/].
* Murray, Timothy, [[Derrick de Kerckhove]], [[Oliver Grau]], [[Kristine Stiles]], Jean-Baptiste Barrière, [[Dominique Moulon]], Jean-Pierre Balpe, '''''Maurice Benayoun Open Art''''', Nouvelles éditions Scala, 2011, French version, {{ISBN|978-2-35988-046-5}}
* Kabakov, Ilya. On the "Total" Installation. Ostfildern, Germany: Cantz, 1995, 243-260.
* Kaprow, Allan. "Notes on the Creation of a Total Art." In Essays on the Blurring of Art and Life, ed. Jeff Kelley. Berkeley: University of California Press, 2003. {{ISBN|0-520-24079-0}}
* Mondloch, Kate. ''Screens: Viewing Media Installation Art''. Minneapolis: University of Minnesota Press, 2010. {{ISBN|978-0-8166-6522-8}}
* [[Joseph Nechvatal|Nechvatal, Joseph]], ''Immersive Ideals / Critical Distances''. [[LAP Lambert Academic Publishing]]. 2009.
* {{cite news|title=Opera|work= Britannica Student Encyclopedia|edition= Encyclopædia Britannica Online|date=  15 February 2006 |url=http://search.eb.com/ebi/article-205952 |url-access=subscription}}
* Reiss, Julie H. ''From Margin to Center: The Spaces of Installation Art''. Cambridge, MA: MIT Press, 2001. {{ISBN|0-262-68134-X}}
* Rosenthal, Mark. ''Understanding Installation Art: From Duchamp to Holzer''. Munich: Prestel Verlag, 2003. {{ISBN|3-7913-2984-7}}
* Suderburg, Erika. Space, Site, Intervention: Situating Installation Art. Minneapolis London: University of Minnesota Press, 2000. {{ISBN|0-8166-3159-X}}

==External links==
{{Commons category|Installation art}}
{{Wikiquote}}
* [http://www.goethe.de/kue/bku/dos/rid/enindex.htm Dossier: Site-specific Installations in Germany]
* [https://web.archive.org/web/20111102161907/http://www.the-artists.org/artistsbymovement/Installation Installation artists and art...the-artists.org]
* [http://www.artdesigncafe.com/Museum-of-Installation-Nico-de-Oliveira-Nicola-Oxley-2008 Museum of Installation (London): Interview with directors Nico de Oliveira & Nicola Oxley (2008)]. ''Sculpture'' / ''artdesigncafe''.
* [https://www.thestranger.com/events/24391323/worlds-largest-dreamcatcher-sculpture-measurement-ceremony Public Art Installation Of Paul Kuniholm]
* [http://www.tate.org.uk/learn/online-resources/glossary/i/installation-art Installation art definition from the Tate Art Glossary]

'''Contemporary installation organizations and museums'''
* [https://web.archive.org/web/20061224175009/http://www.diacenter.org/bindex.html Dia-Beacon Riggio Galleries]
* [http://www.massmoca.org/ The Massachusetts Museum of Contemporary Art]
* [http://www.mattress.org/ The Mattress Factory Art Museum]

'''Installation art'''
*[http://www.file.org.br Electronic Language International Festival] Interactive art installations and New media art.
*[http://www.zkm.de Media art center, Karlsruhe Germany] one of the biggest center with a permanent collection of interactive installations.

{{Art world}}
{{Branches of the visual arts |autocollapse}}
{{Western art movements}}
{{Sculptures}}
{{Authority control}}

[[Category:Installation art| ]]
[[Category:Contemporary art movements]]
[[Category:Visual arts genres]]