Technology and the Hermeneutics of Time and Space in Modern and Postmodern Art from Cubism to Installation
Chapter Five: Installation Art: From Contexts, Sites, and Environments to Performers, Performance, and Audience 135
~ C H A P T E R F I V E ~ Installation Art From Contexts, Sites, and Environments to Performers, Performance, and Audience It is now taken for granted that nothing which concerns art can be taken for granted any more; neither art itself, not art in its relationship to the whole, nor even the right of art to exist.” Theodor Adorno, Aesthetic Theory The great obsession of the nineteenth century was, as we know, history: with its themes of development and suspension, of crisis and cycle, themes of the ever-accumulating past....The present epoch will perhaps be above all the epoch of space. We are in an epoch of simultaneity: we are in an epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dis- persed. We are at a moment, I believe, when our experience of the world is less that of a long life developing through time, than that of a network that connects points and intersects with its own skein. Foucault, “Of Other Spaces” in Diacritics “Non-art,” “anti-art,” “non-art-art” and “anti-art art” are useless. If someone says his work is art, it’s art. Don Judd, Art After Philosophy ne of the defining features of Installation Art will be its focus on synthesized “construction,” on its own processes, conditions, and situatedness. In the postmodern era not only have numerous artists insisted on detaching or dislocating artistic modes and materials, but they have become increasingly concerned with the context in which their work is...
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