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July 3, 2012


Filed under: installation art — Tags: — admin @ 3:57 pm

Installation art is a relatively new genre of, contemporary art practiced by an increasing number of postmodernist artists, which incorporates a range of 2-D and 3-D materials to influence the way we experience or perceive a particular space. Installations are artistic interventions designed to make us rethink our lives and values.



As in all general forms of Conceptual Art, Installation artists are more concerned with the presentation of their message than with the means used to achieve it. As a result, computer art is becoming a key



feature. However, unlike ‘pure’ Conceptual art, which is supposedly experienced in the minds of those introduced to it, Installation art is more grounded – it remains tied to a



physical space. Conceptualism and Installations are two of the best examples of Postmodernist Art.


This visual art form ranges from the very simple to the very complex. An installation can be gallery based, digital based, electronic based, web-based – the possibilities are limitless and depend entirely upon the artist’s concept and aims. Almost any type of material or media can be utilized in contemporary installation







art, including natural or man-made objects, painting and sculpture, as well as new media such as video, film, photgraphy, audio, performance, happenings and computers.

Some compositions are strictly in door, while others are public art, constructed in open-air community spaces. Some are mute, while others are interactive and require audience participation.

At first glance, some installations may resemble traditional craft based sculpture or the more modernist assemblage art . But this is an illusion. Installation art effectively inverts the principles of sculpture. Whereas the latter is designed to be viewed from the outside as a self-contained arrangement of forms, installations often envelop the spectator in the space of the work.

The viewer enters a controlled environment featuring objects as well as light, sound and projected imagery. The formalism of the composition remains of secondary importance – it is the effect on the spectator’s spatial and cultural expectations that remains paramount.


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