For the purposes of this document, installation art will refer to those works that make use of a delineated space to achieve their desired effect. This could be an architectural space of a certain form, or an outdoor location. These works can be temporary or permanent. A good rule of thumb when trying to determine if something is an installation might be to ask whether it is immersive. Installations can be site-specific, but don't have to be. [[Yayoi Kusama-Obliteration Room]] [[Senga Nengudi-Performance Piece (1978)]] [[Rosemarie Trockel-A Cosmos.]] [[Rirkrit Tiravanija-Tomorrow Is the Question]] [[Agnes Denes-Wheatfield]] [[Ann Hamilton-(bearings)]] [[Dan Graham-Two-Way Mirror and Hedge Labyrinth]] [[felix gonzalez-tUntitled, (Portrait of Ross in L.A.)]] [[Georges Rousse-Châsse-sur-Rhône 2010]] [[Pierre Huyghe-06.00 pm]] [[Sarah Sze-Crescent (Timekeeper)]] [[Tony Oursler- Black Box]] ![[Claire Bishop - Installation Art Introduction.pdf]] Notes from Claire Bishop - Installation Art Introduction 1.      Installation art creates a situation into which the viewer physically enters, and insists that you regard this as a singular totality 2.      addresses the viewer directly as a literal presence in the space. 3.      installation art presupposes an embodied viewer whose senses of touch, smell and sound are as heightened as their sense of vision. 4.      This insistence on the literal presence of the viewer is arguably the key characteristic of installation art.[](marginnote3app://note/ED9A1D5D-99E4-4D84-B42F-270BBF19D5EF) 5.      Its influences have been diverse: architecture, cinema, performance art, sculpture, theatre, set design, curating, Land art and painting have all impacted upon it at different moments 6.      Some installations plunge you into a fictional world -like a film or theatre set - while others offer little visual stimuli, a bare minimum of perceptual cues to be sensed. Some installations are geared towards heightening your awareness of particular senses (touch or smell) while others seem to steal your sense of self-presence, refracting your image into an infinity of mirror reflections or plunging you into darkness. Others discourage you from contemplation and insist that you act- write something down, have a drink, or talk to other people. 7.      locations, where the entire space was treated as a single situation into which the viewer enters. The work of art was then dismantled and often destroyed as soon as this period of exhibition was over, and this ephemeral, site-responsive agenda further insists on the viewer's first-hand experience. 8.      Instead of representing texture, space, light and so on, installation art presents these elements directly for us to experience. 9.      activates the viewer, in contrast to art that simply requires optical contemplation (which is considered to be passive and detached). This activation is, moreover, regarded as emancipatory, since it is analogous to the viewer's engagement in the world. A transitive relationship therefore comes to be implied between 'activated spectatorship' and active engagement in the social-political arena. 10.      installation art's multiple perspectives are seen to subvert the Renaissance perspective model because they deny the viewer anyone ideal place from which to survey the work.