Saturday, July 9, 2016

INSTALLATIONS and theIr Challenges

https://1.bp.blogspot.com/-b9nIaxsSxao/VbOromyxs8I/AAAAAAAAEYc/m5LHyJyLwHg/s113/Blog%2BPic.jpg Willard B. Moore, PhD (b. 1931), www.foodinthearts.blogspot.com

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INSTALLATIONS
    If the average person happens to notice a photo of an art installation in the newspaper, it is invariably large, far away or secluded, technically very difficult to create, and usually bewildering. Also, they are expensive. 

  This posting is presented with the goal of offering a sample of the wide diversity among installations and the way in which they overlap or merge with other genres (i.e. performance art and conceptual art).

 And one of the things that distinguishes large, in-place installations is their relationship to their natural surroundings.  These larger works are more distant from other genres than the smaller ones that are closer to human interaction.

A large work by Robert Smithson: SPIRAL JETTY (1970) in 
Salt Lake, northern Utah

Christo and Jeanne-Claude: FLOATING PIERS, Lake Iseo, Italy,
   

photo by Andre Grosman

Heizer, Michael  b. Berkeley, Ca,1944 -) East, South, North, West  Installation, DIA Beacon, NY




De Maria, Walter  (b. Albany, CA, 1935 – 2013 Kilometer) Broken 





Below: An example of installation theoretical complexities:
Below: Sol Lewitt’s wall installation,  #260, 1965 (chalk on painted wall). Dimensions variable.
This piece is mainly CONCEPTUAL ART and can be installed in any reasonable space by Lewitt’s assistants.  In any existence, it is a SITE- SPECIFIC INSTALLATION







      Moreover, the subject and forms of site-specific installations are highly variable.
Below: Another installation by Walter DeMaria, 1980’s early avant-garde installation by Walter De Maria's ‘The Earth Room', 141 Wooster Street, in New York City’s SoHo district.




Walter De Maria's lter De Maria's "New York Earth Room" contains more than 80,000 pounds of soil. (Dia Art Foundation)
   

As described by William Powers
Special to The Washington Post
Wednesday, May 20, 2009
“The scent of soil arrested my nostrils as I stepped into "The New York Earth Room" in Manhattan's trendy SoHo district, 141 Wooster Street. Before me: a fortune in indoor floor space tied up with nothing more than 280,000 pounds of loamy dirt.
Stunned, for several minutes I could do little but stare. Light poured in through several windows, glistening on the textured soil. I vaguely registered the muted sound of a cab passing outside. Only a knee-high sheet of Plexiglas separated me from the dirt. There were no other visitors, but that was not particularly surprising. The art installation is way too avant-garde to advertise, or even put up a sign out front; you have to hear about it from someone in the know.

MY PERSONAL INSTALLATION EXPERIENCES:
    As things worked out during one of the Hudson Valley’s famous winters, I had glanced over an article, probably in The New York Times, and began making plans to see this “installation,” (a brand- new word in my vocabulary).  I gathered my family (including a very reluctant teenager) and drove south to view this curious “art work.”
Powers’ words are exactly correct.
   Some years later, in 2004, we drove up to my hometown of Poughkeepsie, N.Y. to observe the 400th anniversary of the first voyage of Henry Hudson up the river, now bearing his name.  Part of the celebration, which included picnics, collegiate crew races, and food.
Of course, we stopped for a day at DIA Beacon on the Hudson River. We took in some astounding, realty audacious works, including Michael Heizer’s installation, shown above.
     But the consummate thrill came from a serendipitously arranged installation. The opening of a public installation called “Bridge Music”, a project initiated and arranged by composer/musician Joseph Bertolozzi of Beacon, N.Y. (Released 2008).  Naturally, we schmoozed with Joe  a local coffee shop in Carmel Square. We asked about his plans and he told about Paris. It was some years later, after considerable fund-raising and technical planning, Bertolozzi and his crew went to Paris, France, where they  recorded the girders’ similar voice from the iconic Eiffel Tower.[Joseph Bertolozzi'sTower Music” At Vassar College.  The recording was released in 2008.
[Hudson Valley News Network-Apr 22, 2016]
 Bertolozzi at work [photo Franc Palaia]

     Bertolozzi’s careful navigation of the considerable political, artistic and organizational challenges guided Tower Music to completion through waters fortuitously free of protocols. Notoriously protective of images of their iconic structure, the French embraced Bertolozzi’s project to make it sing. This work might be called an Audio-Visually Interactive, Site-Specific installation.
   Then, on the way back to North Carolina, we searched and finally found the Storm King Art Center in Windsor, NY.  We traveled the grounds and were absolutely astounded by Goldsworthy’s Storm King Wall, below, and Wavefield by Maya Lin.
                                              Image result for storm king sculpture center           


Still later on, a residence in California’s Monterey Peninsula gave me opportunities to see small installations in local galleries.

     In our art world, installations of the 21st century are still often large, bewildering or beguiling, and often seem to follow the above characteristics as the images below illustrate:

The DESERT BREATH, located in the Egyptian near Qusm Hurghada on the Red Sea coast, is a double-spiral extra-large piece of art.
It was created by the D.A.ST. Arteam, a group made up of three Greek women artists - Danae Stratou, sculptor, Alexandra Stratou, industrial designer, and Stella Constantinides, architect.
FOOD INSTALLATIONS
Artists’ food-themed installations require a meaningful spot in which to create the piece but also staying aware taking and advantage of the piece’s aspects which might develop into Performance art. The latter genre often relies on the art viewers to interact with the site to fulfill its function.  Below is one of Gonzales-Torres’ interactive installations.        



                                   
Gonzales-Torres’ carpet installation of wrapped candy, 1991.
          r 

Roelf  Soul City Oranges, 1967

 Rirkrit Tiravanija was born in Buenos Aires in 1961 and was raised in Thailand, Ethiopia, and Canada. He studied at the Ontario College of Art in Toronto ...



Sigmar Polkle’s Kartofellhaus, 1967
Image result for storm king sculpture centerImage result for storm king sculpture center


















                               







Wheat, Natasha Bean-In, 2010

Scattered real things as ART

Coosej van Bruggen, [public piece]  SFMoMA

Claes Oldenburg and Coosje van Bruggen: Geometric Apple Core , 1991

Among the top10 Japanese contemporary artists today are the
United Brothers (Ei Arakawa and Tomoo Arakawa),
Below: Does This Soup Taste Ambivalent?

Tiravanija, Rirkrit Mixed media, 2002.
This artist creates & shares Thai food for colleagues. It confronts the question: is it an interactive installation or performance art?                                                             Image result for r. tiravanija


WHEAT NATASHA

SF COLLEGE ARTS

 

Tanaka, Koki  Take an orange and throw it away without  thinking too much.”

Interactive installation.

Born in 1975, Koki Tanaka lives and works in Tokyo


Take an orange and throw it away without thinking too much (2006) by Koki Tanaka

    material: DVD, color, sound
     time: 7 minutes and 12 seconds
    credit: created in residency programme with Le Pavillon, art research laboratory of the Palais de Tokyo, Paris
.

       Artist’s note: “On the occasion of a one-day solo project at Palais de Tokyo, Paris, I made this installation with fresh oranges. I               bought    it from the farmers’ market in front of Palais and threw all of them into the staircase between Palais and Musée d'Art Moderne de la        Ville de Paris to capture an image of how oranges fall.


Bader, Darren (b. Bridgeport, CN, 1978) Fortune Cookie installation for the 2014 Biennial 
Darren Bader, “ Actually I don’t digress any more …or I mean I don’t call my digressions ‘digressions’ any more. I call them Sympathetic” –Richard Horowitz, Courtesy the artist and Andrew Kreps Gallery, New York, Photograph by Sebastiano Pellion di Persano

Darren Bader, Actually I don’t digress any more …or I mean I don’t call my digressions ‘digressions’ any more. I call them Sympathetic –Richard Horowitz, Courtesy the artist and Andrew Kreps Gallery, New York, Photograph by Sebastiano Pellion di Persano

Below: Darren Bader, installation view of More Buildings About Songs and Food, Sadie Coles HQ, London, 2012. Courtesy the artist and Sadie Coles HQ, London.  Darren Bader, installation view of More Buildings About Songs and Food, Sadie Coles HQ, London, 2012. Courtesy the artist and Sadie Coles HQ, London

Shanabrook, Stephan J.( b. Cleveland, Ohio,1965, US). Shanabrook is an American conceptual artist, who lives and works in New York City and Moscow, Russia.
Suicide bomber (in chocolate)