The title chosen title for this assignment is ‘Installation Art in Ireland’. In this essay there will be a critical analyse on the art form itself, the issues surrounding it, the main artists associated with it, and what they are doing.
Installation art is defined as being “Art that is created for a specific site, often incorporating materials or physical features of the site” (“installation art”, 2016)
The art form is relatively new, and it would be considered to be contemporary art. To describe it would be a 3D structure of different objects projected in to in a large area (a museum, gallery, public and private spaces). Its main focus is just on that installation or piece, rather than individual art works and artists. This form of art is usually only ever in place temporary, as most pieces are site-specific, meaning they are designed in the environment of their projected space
A lot of installation art pieces are more interactive with the audience, sometimes it can even evoke more that just your visual senses.
It comes under the heading of conceptual art. Conceptual art is that more of the focus is on the idea and concept of the art piece rather than the actual end product.
Installation art is said to have been emerged during the 1970’s but There are people and forms that are said to have had an influence on leading the way for this form of art. For example, the avant-garde Dada movement, assemblage art, and works of bricolage. People of influence include Marcel Duchamp, John Cage, Allan Kaprow and many more.
Examples of some of the most famous contemporary art galleries around the world are; Tate Modern in London, Centre Pomipidou in France, Guggenheim and MOMA both of which are in New York. Well known contemporary art galleries in Dublin Ireland, would be the Irish Museum of Modern Art, and the Irish Museum of Contemporary Art.
There have been many controversies around installation art. Throughout the years there have been several different exhibitions of this artwork that some audiences just do not understand. An example of this would be Damien Hirst ‘A Thousand Years’ (1990), this piece of art consisted of a cows severed head covered in flies and maggots feeding on it.
(‘A Thousand years’- 1990)
People who visited his exhibition (Gambler,1990) that included the art piece, were not pleased and were confused at the purpose of it.
Some audiences find it hard to see the point behind, or whether these pieces of art can be considered art. Or are some just everyday objects, that an artist has put a story behind. Some question whether the modern day art world has given artists too much freedom under the heading of art installation. “I would say that installation art has finally created confusion as masterpieces.” (“Editorial: When Things Go Wrong in Installation Art: Problems with Art Management”, 2016)
Most visitors do not look at installation art as a merchandise. This art form can be quite difficult to sell, due to its size, shape, and where it is located, as said before a lot of installation art is site –specific.
Some collectors, buy installation pieces and donate them to museums or put them in their own personal galleries. But mostly when an exhibition ends, the piece is taken apart and then either placed in storage or given back to the artist.
It is rare that it occurs but some artists dismember their installation piece and sell them as individual art pieces. Not all artists and curators agree with doing such a thing, as they believe that art piece would not make sense if it was not all together.
Another issue that surrounds this artwork is whether certain installation art can be considered authentic. As many of the pieces of this art form are abnormally large, some might question whether dismantling it and putting it back together deems the art piece as a reproduction of the original. Also if said piece is then put together again by a curator and not the artist, would the art still hold the original meaning? would it still be authentic?
Many people think that the definition of authenticity surrounding art should be altered and changed. In accordance to fit in with the more recent contemporary art forms.
As described before there have been many famous artists that have influenced the creation of the installation art form. But in the last 30-40 years, there have been a few artists that have really put the installation art form on the map.
Ai Weiwei (born 1957, Beijing) is one of the worlds most recognized contemporary artist and activist. He has repeatedly made headlines throughout the world, as his work often relates to his objections surrounding politics, human rights and Chinese history.
It was not until after the Beijing Olympics 2008, that Ai’s art career and activism took flight. At this time Ai was hired to work with the leading architects that were designing the Olympic stadium.
He soon after became very vocal about his dislike he had of the Chinese government, which down the line caused him to be held captive, and to be then put under house arrest. To this day there is still conflict between the artist and the Chinese authorities. In 2013 Ai had an installation (S.A.C.R.E.D.) at the Venice Biennale, which was a replication of the cell he had been held captive in.
One of his most recognized pieces would be ‘Sunflower Seeds’ (2010). This installation consisted of 100 million sunflower seeds covering the floor of one of the halls at Tate Modern in London. Each and every single seed was individually hand crafted, each one was unique to itself.
(‘Sunflower Seeds’ – 2010)
During the exhibition the audiences were invited to walk across and examine the seeds that were placed on the floor. There was dual meaning behind this exhibition for Ai, to do with the Cultural Revolution in china, and the commonly used ‘Made in China’.
Another well recognized installation by WeiWei was the ‘Circle of Animals/Zodiac heads’, created in 2010. These heads are representatives of the Chinese zodiac. this is an installation is recreation of the original 12 zodiac heads that were destroyed in 1860 in Yuanming Yuan.
An issue that Ai brought up of his own exhibition was whether this was an original or replica. An issue that was previously brought up.
Ai Weiwei would be an example of an artist who earns money through selling his installation art. In June 2015, one of his pieces from ‘Circle of Animals/Zodiac heads’ was sold at auction for $5.4 million.
As talked about before, Damien Hirst is an extremely famous and controversial installation artist in the world today. Born in Bristol England in 1965 and at the age of 30 won the coveted Turner prize. Hirst’ main theme throughout his art is death.
One of many controversial artworks he has done is ‘The Physical Impossibility of Death in the Mind of Someone Living’ (1991).
(‘The Physical Impossibility of Death in the Mind of Someone Living’ – 1991)
It was first exhibited in 1992 in Saatchi Gallery in London. This piece consisted of tank containing a 13-foot tiger shark preserved in formaldehyde. The idea behind this artwork was to put fear within people and to show that there is life in death. It was said that the piece both captivated and appalled audiences when it was first on show.
In 2006 the 13-foot shark was replaced with a new specimen, due to deterioration and it was then sent on loan to Metropolitan museum of Art in New York City.
Once again the question is being raised of the authenticy of the piece.
The Japanese artist Yayoi Kusama (born March 22, 1929) is another influential installation artist. She has dabbled in many different art forms during her career, which include painting, sculpture, performance art and many other. Throughout her career Yayoi has included her interest of, repetitive patterns and vibrant colors in her artwork. Due to HER suffering from hallucinations and repetitive thoughts, since a young age in her head her surrounding space was full of dots and patterns. Yayoi said that the polka dots was a link to the anxiety she had as a child.
As Kusama progressed she began to have a trademark throughout her art, which consisted of dots and mirrors.
‘Dots Obsession’ is the name of a series of that include her trademarks as well as large blow up objects. Her first ever installation that included both polka dots and mirrors was her 1965 ‘Infinity Mirror Room – Phalli’s Field’ at Castellan Gallery in New York. The installation comprised of four walls and the ceiling covered in mirrors. On the floor were huge stuffed object’s covered in dots reflecting off all of the surrounding mirrors on the floor bouncing of them. Some would say these installations that are covered in polka dots are Yayoi’s idea of therapy.