Installation Art

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Transcript Installation Art

Installation or installation art - Art that is or has been
installed — arranged in a place — either by the artist or
as specified by the artist. It might be either site-specific or
not, and either indoors or out. The term became widely
used in the 1970s and 1980s, and continues to be
employed by many people. Installations may be
temporary or permanent, but most will be known to
posterity through documentation. As a consequence, one
aspect of installations is often the difficulty with which
they can be commodified (something which can be
bought and sold).
Mona Hatoum’s Untitled
(Wheelchair) portrays the
following aspects:
the altering of the purpose of the objects
by the artist to suggest meaning
using the objects as symbols of hostility,
danger, oppression and anger
linking the work to the artist’s own
experience of displacement from
Mona Hatoum, Untitled (Wheelchair) 1998
Stainless steel and rubber
97 x 59 x 84 cm
© The artist. Photographer: Edward Woodman
Courtesy Jay Jopling/White Cube (London)
Hossein Valamanesh’s Untitled
(1999), shows the following
an example of the use of found objects
in installations
the suggestion of spirituality and the
artist’s cultural background
symbolism in the use of the candle and
the branch
the depiction of nature and self-identity
as two concerns in the artist’s works.
Hossein Valamanesh, Untitled 1999
Lavender bush, oil burner
80 x 58 x 82 cm
Courtesy the artist and Sherman Galleries, Sydney
Site-specific Installation
Installation Artist Kumi Yamashita
Challenging our perceptions of predictable
relationships between solids and their shadows.
“City View” ,2003
Medium: Light, Aluminum, Shadow
Permanent display at the 2nd floor of Nanba
Parks Tower, Osaka, Japan.
Commissioned by Nankai Railways Inc.
Description: The numbers scattered on the wall,
lit from the right, cast a silhouette of a woman.
Callum Morton’s Habitat depicts
the following characteristics:
a sculptural installation resembling a
scaled-down architectural model
added lights and sound, suggesting
there are people within it
reality versus illusion
Postmodern aspects in its
questioning of our values and the
way we live
a Postmodern appropriation of a
modernist building.
Callum Morton, Habitat 2003
Wood, acrylic paint, aluminium, sheet magnets, lights, sound
74 x 660 x 130 cm
Courtesy the artist and Roslyn Oxley9 Gallery
Site-specific Installation
Edge of the Trees is a site-specific piece commissioned for the forecourt of the Museum of Sydney at its
opening in 1995 by an indigenous and non-indigenous artist working together - Fiona Foley and Janet
Laurence. This award-winning public art installation evokes the cultural and physical history of the site,
before and after 1788: a pivotal turning point in our history, when contact and invasion / colonisation took
The name of the sculpture comes from an essay by historian Rhys Jones, 1985:
"…the 'discoverer' struggling through the surf were met on the beaches by other people looking at them
from the edge of the trees. Thus the same landscape perceived by the newcomers as alien, hostile, or having
no coherent form, was to the indigenous people their home, a familiar place, the inspiration of dreams.”
Rhys Jones: 'Ordering the Landscape' in I & T Donaldson's Seeing the First Australians, Sydney 1985
A 'forest' of 29 massive pillars – sandstone, wood and steel – cluster near the museum entrance. Wooden
pillars from trees once grown in the area have been recycled from lost industrial buildings of Sydney.The
names of 29 Aboriginal clans from around Sydney correspond to the 29 vertical poles. Walking between the
pillars you hear a soundscape of Koori voices reciting the names of places in the Sydney region that have
today been swallowed up by the metropolis.
Organic materials such as human hair, shell, bone, feathers, ash and honey, are embedded in windows within
the elements, evoking prior ways of life. Natural and cultural histories are evoked by the names of botanical
species carved or burnt into wooden columns in both Latin and Aboriginal languages, along with the
signatures of First Fleeters. Place names are engraved on the sandstone pillars in English and Aboriginal
Lee Mingwei has continually focused on themes of trust and selfawareness in projects that create a potential for active exchange. He
was born in Taiwan, currently lives and works in New York City and
Berkeley, California.
Fabric of Memory 2006
Mixed media interactive installation
Liverpool Biennial ’06, Tate UK
A childhood photograph of my mother holding my hand, me
dressed entirely in clothing she had made for me, was the point of
inspiration for "Fabric of Memory." The photo was taken on my
very first day of kindergarten, and the idea of being away from my
parents made me very unhappy. I finally agreed to go to school
after mom told me to think of the jacket I was wearing as her
embracing me throughout the day.
For "Fabric of Memory", I focused on personal clothing and other
fabric items in the possession of Liverpool residents; items made
for them in childhood by parents, grandparents, other relatives or
persons close to them. I asked them to search their homes for
such items, ones they had treasured and kept, then write down all
they could remember about these—who made them, when, how
they were used, and whatever other memories and associations
they evoked. Thus, when a museum visitor opens one of the
wooden boxes, they find not only the object, but a very personal
story about, a story which reveals the intimate relationship
between the object’s receiver and its maker
Fabric of Memory 2006
Mixed media interactive installation
Open Academy's workshop series: Installation by Myanmar artist Nyo Win Maung, in
Installation Art Workshop series I at NICA, 2003, Yangon, Myanmar
Yuken Teruya does wonders with recycled materials and she
must have a sharp exacto knife. Here she took toilet paper rolls
and created a small forest installation. Check out more of her
work at:
Artist : Ingrid Turner
Media: Beach Almond leaves and pods
Dimensions: 1.5m length and 75cm wide
World and Cultural Heritage Exhibition 2004
Acquisition by JCU
“Conservation Cocoon”
Concept -Protection of native trees on the foreshores
Artist: Ingrid Turner
First Upholstery
Artist : Ingrid Turner
BUSY – “Before Us Stands Yesterday” Regional Gallery 2003
Spanish light intervention team Luzinterruptus
spent one hour and twenty minutes creating
an installation in Madrid entitled A Cloud of
Bags Visits the Prado. Eighty recycled shopping
bags were lit up outside the museum, bobbing
in the wind in an attempt to see the art inside.
The effect is rather ephemeral and pretty, in
fact. The installation lasted four hours.
Hopefully it brought a smile to a few faces
during that time.
Artist: Kaarina Kaikkonen
This artist from Finland Kaarina
Kaikkonen through her work tries “to
understand where the internal ends and
the external begins.”
Her sculptures and installations are made
with recycled materials such as secondhand clothing, moulded craft paper.
She is famous for her jacket installations
And was I able to fly
material: men’s tie
Did I reach the harbour
material: men’s shirts
The Next few slides
Artist’s Blog – Eve Mosher
Eve Mosher is an artist and interventionist
living and working in New York City. Her works
use investigations of the landscape as starting
points for audience exploration of urban
issues. Her public works raise issues of
involvement in the environment,
public/private space use, history of place,
cultural and social issues and our own
understanding of the urban ecosystem.
A colorful riverbed of gleaming smooth
pebbles made of pages of my journals
and photographs, this work reveals the
beauty in destruction and the
opportunity for rebirth.
An installation influenced by an earlier, similar project. This piece consisted of over
15 spheres made of mud (coated in high gloss) and lined on the inside with a deep
red-colored wool. The sizes ranged from 5" diameter to 2 1/2 feet diameter.
mud, wool, acrylic, plaster; 18 pieces from 10" dia. to 34" dia.
Re- cognition
An installation consisting of three
structures. Each structure houses a
microcosm (miniature trees, rocks,
fungus). The structures are cloaked in a
sheath embedded with blue fiber optics.
The scent and visual change in the room
transports the view to a space
somewhere between utopic and
dystopic as they ponder their
relationship to what might be
wire, nylon thread, felted wool, beeswax, plexi
A study in precious-ness. This work
takes the sensuous tamarind shapes
and envelopes them in a carefully
handmade container, which hangs upon
the wall as an altar to their potential.
The installation of all the pieces is
In this three part series, pieces from our daily life reshape themselves
and retake the architectural space as they begin a viral spread. Scraps
of fabrics normally used for suits and formal wear are reshaped into
sensual foms. Each part of the series is made of over 30 pieces each
approximately 6”x5”x6”
A playful installation of felted
spheres on thin threads. Full of
colour, and anchored at the top by
a block of thick beeswax, this piece
mimics some of the growth
patterns found in nature.
Paris Walsh
Year 10 Student 2009
Artist Statement
People these days are
obsessed with looking like the
people in magazines and are
continually buying magazines
only to read them once then
throw them away, they don't
realise the waste that is
created by supporting the
manufacture of magazines.
You Can’t Eat Money
Artist’s Statement
Title: You can’t eat money
Artist: Kali Harriss
Statement: Society today is greedy and inconsiderate of
the environment. People are prepared to wreak havoc on
their world, as long as they get what they want. They will
do anything to get money – hunt a species to extinction or
cut down entire forests. The world’s resources are
running out. One day people will have to face the fact that
they can’t eat money.
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