Show Less

A History of Installation Art and the Development of New Art Forms

Technology and the Hermeneutics of Time and Space in Modern and Postmodern Art from Cubism to Installation

Faye Ran

Art mirrors life; life returns the favor. How could nineteenth and twentieth century technologies foster both the change in the world view generally called «postmodernism» and the development of new art forms? Scholar and curator Faye Ran shows how interactions of art and technology led to cultural changes and the evolution of Installation art as a genre unto itself – a fascinating hybrid of expanded sculpture in terms of context, site, and environment, and expanded theatre in terms of performer, performance, and public.

Prices

Show Summary Details
Restricted access

Illustrations 95

Extract

~ I L L U S T R A T I O N S ~ pFig.1. Marcel Duchamp Mile of String, Installation of the Exhibition “First Papers of Sur- realism” New York, Oct.14–Nov.7 1942 –View I. Photo: John D. Schiff, Philadelphia Museum of Art: Marcel Duchamp Archive, © 2005, Artists Rights Society (ARS), New York City/ADAGP, Paris, France/Succession Marcel Duchamp. tFig. 2. Yves Klein, Leap into the Void, 1960. © 2005 Artists Rights Society (ARS), New York City/ADAGP, Paris. The Metropolitan Museum of Art, Purchase The Horace Goldsmith Foundation Gift, 1992. Photo all rights reserved, The Metropolitan Museum of Art. pFigs. 3–4. Peter Fischli and David Weiss, Untitled, Painted polyurethane, Dimensions variable. Installation and Detail Views. March 19–April 1994.Courtesy Sonnabend Gallery, New York City. - 96 - tFig. 5. Lucas Samaras, Room # 1, 1964. Interior view artist's Bedroom. Photograph by Wes Russell, Pace/Wildenstein, New York City © Lucas Samaras, Pace Wildenstein, New York. qFig. 6. Kurt Schwitters, Detail of his Merzbau, Hanover 1920–36 piece, Treppereingang (Staircase Entrance) © 2006 Artists Rights Society, (ARS) NYC, VG Bild-Kunst, Bonn. - 97 - pFig. 7. Kurt Schwitters, Merzbau - Hanover, 1920–36. Detail: Blaues Fenster (Blue Window) © 2006 Artists Rights Society (ARS), New York City/VG Bild-Kunst, Bonn. - 98 - uFig. 8. Vladimir Tatlin, Model for the Monument for the Third International, 1919. After a lost model made of wood and metal. Pho to :CNAC/MNAM/ Dist, Reunion des Musees Nationaux Art Resource, New York City. qFig. 9. El Lissitsky, A Section of the Room...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.