| Title |
| Bruce Altshuler,The Avant-Garde in Exhibition: New Art in the Twentieth Century, New York: Harry N. Abrams, 1994. |
| Gaston Bachelard,The Poetics of Space, Boston: Beacon Press, 1994. |
| Emma Barker (ed.),Contemporary Cultures of Display, London: Yale University Press in association with The Open University, 1999. |
| Andrew Benjamin (ed.),Installation Art, London: Academy Editions, 1993. |
| Claire Bishop,Installation Art: A Critical History, London: Tate Publishing, 2005. |
| Nicolas Bourriaud,Relational Aesthetics, Dijon: Les Presses du Réel, 1998. |
| Martha Buskirk,The Contingent Object of Contemporary Art, Cambridge, MA and London: MIT Press, 2003. |
| Nicolas De Oliveira, Nicola Oxley, Michael Petry and Michael Archer,Installation Art, Washington DC and London: Smithsonian Books, Thames & Hudson, 1996. |
| Nicolas De Oliveira, Nicola Oxley and Michael Petry,Installation Art in the New Millennium, London and New York: Thames & Hudson, 2003. |
| Claire Doherty (ed.),Contemporary Art: From Studio to Situation, London: Black Dog Publishing, 2004. |
| Editors of Phaidon Press,Vitamin 3-D: New Perspectives in Sculpture and Installation, London and New York: Phaidon Press, 2009. |
| Hal Foster,The Return of the Real: The Avant-Garde at the End of the Century, Cambridge, MA: MIT Press, 1996. |
| Roselee Goldberg,Performance: Live Art Since the ‘60s, London: Thames & Hudson, 2004. |
| Jennifer A. González,Subject to Display: Reframing Race in Contemporary Installation Art, Cambridge MA: The MIT Press, 2008. |
| Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne (eds.),Thinking About Exhibitions, London and New York: Routledge, 1996. |
| Ilya Kabakov,On the “Total” Installation. Ostfildern: Hatje Cantz Verlag, 1995. |
| Lewis Kachur,Displaying the Marvelous. Marcel Duchamp, Salvador Dali and Surrealist Exhibition Installations, Cambridge MA: MIT Press, 2001. |
| Allan Kaprow,Assemblage, Environments & Happenings, New York: Harry N. Abrams, 1966. |
| Lucy R. Lippard,Six Years: The Dematerialisation of the Art Object from 1966 to 1972, Berkeley: University of California Press, 1997. |
| Thomas McEvilley,Sculpture in the Age of Doubt, New York: Allworth Press, 1999. |
| Maurice Merleau-Ponty,Phenomenology of Perception, London: Routledge Classics, 2002. |
| Brian O’Doherty,Inside the White Cube: The Ideology of the Gallery Space, Berkeley: University of California Press, 2000. |
| Faye Ran,A History of Installation Art and the Development of New Art Forms: Technology and the Hermeneutics of Time and Space in Modern and Postmodern Art from Cubism to Installation, New York: Peter Lang Publishing, 2009. |
| John B. Ravenal,Artificial Light: New Light-based Sculpture and Installation Art, Virginia Museum of Fine Arts, 2008. |
| Julie H. Reiss,From Margin to Center: The Spaces of Installation Art, Cambridge, MA: MIT Press, 2001. |
| Mark Rosenthal,Understanding Installation Art: From Duchamp to Holzer, Munich: Prestel Publishing, 2003. |
| Erika Suderburg,Space, Site, Intervention: Situating Installation Art, University of Minnesota Press, 2000. |
| Linda Weintraub,Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970s – 1990s, Litchfield, CT: Art Insights Inc., 1997. |
FAQs
What can you say about installation art? ›
Installation Art is a broad term applied to a range of arts practice which involves the installation or configuration of objects in a space, where the totality of objects and space comprise the artwork. Installation Art is a mode of production and display of artwork rather than a movement or style.
What is installation art quizlet? ›Installation art. Is an art form consisting of three-dimensional works that are often site-specific and designed to transform interior or exterior spaces to achieve an effect. Technology-aided installation art. Consists of an installation art piece on which light, video or film is projected.
What are the key ideas of installation art? ›Installation art champions a shift in focus from what art visually represents to what it communicates. Installation artists are less focused on presenting an aesthetically pleasing object to viewers as they are enfolding that viewer into an environment or set of systems of their own creation.
Why do we love installation art? ›Installation art pushes boundaries and challenges us to think. These conceptual art works aim to change viewers' perceptions and intensify their reactions to the physical space the art occupies. Usually large-scale, some installation pieces draw the viewer into the created environment.
What is the main purpose of installation art? ›Installation art is an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space.
What are examples of installation art? ›From pill packets and crumpled trash bags to mirrored rooms and giant mushrooms, installation art has provided some of the most adventurous and boundary-pushing masterpieces of all time. Installation art is one of the most powerful and immersive of all art forms.
Is installation art usually a type of art? ›Installation art is a conceptual art form that creates an immersive experience through mixed media pieces built specifically for large sites or galleries.
Why is installation art called temporary art answer? ›because the set-up of the art is for the time being. Installation art is a type of art that is created specifically for a certain space and is usually only on display for a short period of time. There are several reasons why installation art is often referred to as temporary art.
What is the most important aspect of installation art? ›The focus on how the viewer experiences the work and the desire to provide an intense experience for them is a dominant theme in installation art. As artist Ilya Kabakov said: The main actor in the total installation, the main centre toward which everything is addressed, for which everything is intended, is the viewer.
What is installation art appreciation? ›Installation art utilizes multiple objects, often from various mediums, and takes up entire spaces. It can be generic or site specific. Because of their relative complexity, installations can address aesthetic and narrative ideas on a larger scale than traditional sculpture.
How to analyse installation art? ›
When analysing sculptures and installations, consider whether the spectator is encouraged to look up, down or straight at the artwork (or a combination of these possible viewpoints), and what physical positions the viewing can take place from. The effects of all these should be taken into account.
What is a fact about installation art? ›Installation art is typically site-specific and created for the physical space it is meant to inhabit, be that gallery, museum, or public space. The work typically engages its audience in unique ways and because of that, turns spaces, especially public venues, into unique experiences for the audience.
What makes a good art installation? ›An effective art installation is one that is intriguing and demanding enough on the viewer to interrupt, “life as usual,” or better, “religion as usual.”
What is the effect of installation art? ›Impacts of installation art
It engages you on multiple levels by activating the senses to experience it. The installation is excellent with sound, vision and smell that help to convey special messages to viewers. It is a sensory pleasure for viewers and stands out from the rest of the artwork in communicating messages.