10.3: Installation Art (21st Century)
- Page ID
- 212971
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Introduction
Installation art is a relatively new genre for the millennium defined as large-scale constructions, usually mixed media, and installed for a specified period. The artwork usually fills the space, and viewers must walk through the exhibit, often becoming part of the installation. However, some installations might be fragile or installed along a wall. A sculpture is generally one piece of art displayed in separate or individual spaces. An installation is a more unified experience, engaging the viewer in most of the environment. Technology has also contributed to the ability of artists to create large installations involving LEDs, computerized movement, unusual formations, and even environmentally supported projects. One attribute of installation art is its immersive properties, how the art appears depending on the viewer's position. The works are also significant in scale and site-specific, made to fit into the gallery and museum or outdoor space. Generally, they are placed in unique surroundings to complement the artwork. The video is focused on Maya Lin and how she overcame being a young female architect. Artists in this section:
- Yayoi Kusama (1929-)
- Jean Shin (1971-)
- Kara Walker (1969-)
- Bharti Kher (1969-)
- Dominque Gonzalez Foerster (1965-)
- Suzanne Lacy (1945-)
- Maya Lin (1959-)
Maya Lin is the FIRST woman to design a memorial on the National Mall. "Architecture is a profession where you figure that whether you're a man or a woman shouldn't matter. But when I was starting out at the top firms, women architects were generally given the managerial positions, not the design positions. Why was it that women kept getting slotted not to be a design partner but a manager?"
Yayoi Kusama
Yayoi Kusama (1929-) was born in Japan, where her parents owned a nursery for plants and seeds. Kusama started drawing pumpkins from the time she was a child. She said she drew from hallucinations she observed, a concept that followed throughout her life. Kusama's childhood was traumatic; her mother did not support her art and was abusive. Her father had continual extramarital affairs, which her mother made Kusama follow him and spy, reporting back. By the time Kusama was ten, her hallucinations had included flashing lights and fields of dots she believed engulfed her. She studied the traditional Japanese Nihonga style, finding it unsatisfactory, and studied Western avant-garde. After success in Japan, at twenty-seven, she went to the United States from 1957 to 1972, believing Japan was too disparaging of women and too feudalistic.
In the United States, Kusama developed her reflective mirror rooms, complex installations with mirrors, colored balls, and lights. She worked successfully with other artists in New York City; however, financial success eluded her. During this period, Kusama became heavily involved with the anti-Viet Nam war protesters, often doing unusual things to draw attention to her demonstrations, including painting polka dots on nude protesters. When Kusama returned to Japan in 1973, mentally ill and suicidal, she checked herself into a hospital. Since that period, she has resided in the psychiatric hospital, creating her art in a nearby studio.
Dots have become Kusama's obsession in all her artwork and installations, with dots covering everything in repetitive patterns. Kusama said, "A polka-dot has the form of the sun, which symbolizes the energy of the whole world and our living life, and the form of the moon, which is calm—round soft, colourful, senseless, and unknowing. Polka-dots can't stay alone; like the communicative life of people, two or three and more polka-dots become movement. ...Polka-dots are a way to infinity." [1] Her work is based on the repetitive use of dots, beloved pumpkins, and mirrors in her installations.
Dots Obsession (10.3.1) is like Kusama's hallucinations in childhood, believing her space was covered in patterns. In this installation, she used red and highly contrasting white dots for the base color. The room was enclosed with mirrors, multiple lights, and large balloon-like structures, giving the viewers an immersive involvement. Repetitive Vision (10.3.2) creates a startling strange, and disorienting environment. The black mirrored walls and ceiling reflect the mannequins covered in red dots. The mirrors present views of the front, back, and sides of the mannequins confusing the viewer, impossible to know the limits of the room or the number of mannequins. The red dots on the floor, mannequins, and reflections add to the confusion of the room's boundaries. Kusama said, "A mirror is a device which obliterates everything, including myself and others in the light of another world or a gallant apparatus which creates nothingness." [2]
Later in her career, Kusama's infinity rooms expanded, including her trademark dots and pumpkins. The mirrored and lighted ceiling and walls infinitely reflect the dotted pumpkins in All the Eternal Love I Have for the Pumpkins (10.3.3). The illusion of the installation stretched the concept of ad infinitum. Kusama has placed rows of yellow pumpkins painted with strips of black dots, making the room's depth impossible to judge. The space reflects Kusama's obsessive-compulsive disorder through the repetition of polka dots enclosing the person in the room, the pattern wrapping around and surrounding the viewer.
In Japan, pumpkins are known as kabocha; an image Kusama spent hours drawing as a child. Pumpkins represented stability and comfort and were attractive in color and shape. By the late 1970s, she started to include pumpkins in some of her work, covering them with dots and incorporating them into the themes of her mirrored rooms. Pumpkins became major subjects by the new millennium, and Kusama made enormous sculptures. The Red Pumpkin (10.3.4) and the Orange Pumpkin (10.3.5) were made from fiberglass for installation on Naoshima Island in Japan. The oversized red pumpkin sits on the edge of a protected inlet. The sculpture is hollow inside, made from fiberglass, and covered with large black dots. The orange pumpkin with a different set of black vertical dots was installed on the end of a pier adjacent to the water. The pumpkin was dislodged when a typhoon swept the island in 2021, and waves took it into the sea. The sculpture cracked but was recovered and will be repaired. Kusama also made immense pumpkins from stainless steel (10.3.6, 10.3.7). The metal is shiny and reflects light and images like her mirror rooms. The dots on the pumpkins were made with long-lasting urethane paint. The video discusses the work of Kusama.
The nine decades of artist Yayoi Kusama's life have taken her from rural Japan to the New York art scene to contemporary Tokyo, in a career in which she has continuously innovated and re-invented her style. Well-known for her repeating dot patterns, her art encompasses an astonishing variety of media, including painting, drawing, sculpture, film, performance, and immersive installation. It ranges from works on paper featuring intense semi-abstract imagery to soft sculpture known as 'Accumulations' to her 'Infinity Net' paintings, made up of carefully repeated arcs of paint built up into large patterns.
Jean Shin
Jean Shin (1971-) was born in Korea, where her parents were professors. When she was six years old, they moved to the United States. Shin graduated with a BFA from Pratt Institute and an MS in History. Her artwork is made from cast-off materials she collects and forms into installations. She is not particular in accumulations, including one sock or a broken ceramic, discarded lottery tickets, and even old pill bottles. Shin creates large-scale sculptures and needs large numbers of any one element. She believes the object in an installation may all look the same until closer observation reveals individuality and variety. Shin wants the viewer to continually shift between the group and the individuals within the group, some things more intimate and others appearing excessive.
Huddled Masses (10.3.8) connects the idea of the environmental waste of technology and the desire from society for more and more technological products. The sculpture is made of old cell phones, obsolete by the following year's model. Meters of old, no longer viable computer cables encircle the structure capturing the phones into piles of meaninglessness. The toxic waste now sits, planned obsolescence forcing the new technology to the detriment of the environment from the masses of unusable waste. Large forms jut out of the middle like the ancient rocks of Chinese art, the purity of natural, long-lasting stones of the past, now covered by today's pollution. Oddly, the sounds on the phones made to carry the noise and discourse of society are now silent in their obsolesce. The most significant part of the sculpture is 2.28 meters tall. Shin collected over 3,000 different styles of phones, some as long as twenty years ago, for the sculpture.
Chance City (10.3.9, 10.3.10) was constructed from thousands of losing scratch-and-win lottery tickets, discarded as useless. People purchase them hoping to make money; the losing tickets reveal the unfulfilled dream someone had when they bought the ticket. The worthless tickets are the blocks Shin uses for her colorful house of cards; it is also a temporary structure full of chance and optimism. She uses no glue when erecting the house of cards, only balancing one on top of another. Although the sculpture looks fragile, gravity and friction hold the cards in place. Shin believes, "Picking up your life and moving to the city and giving I all you can, your dreams may change-transform. But somehow, I think all of us retain that memory of something that they wanted to do, and against all odds, are able to succeed." [3] The ticket may not bring instant riches, but our odds of success are achievable. The video is an interview with Shin.
Using discarded cell phones and computer cables as the material and rough-hewn rocks from Chinese art as the form, Jean Shin's site-specific installation asks how technological innovation contributes to climate change.
Kara Walker
Kara Walker (1969-) was born in California; her father was a painter and professor. Walker said she used to sit on her father's lap and watch him draw and always wanted to become an artist. She received a BFA from the Atlanta College of Art and an MFA from the Rhode Island School of Design. Walker lived in California until she was thirteen in an integrated neighborhood surrounded by civil rights activists. When she moved to Georgia, Walker was shocked to discover the amount of discrimination, including the Ku Klux Klan rallies, still occurring. The discriminatory practices of the South highly influenced Walker, and her art focused on the brutalities of slavery. Walker is known for her panoramic silhouettes depicting racism and the realities of life enslaved people endured. Her work was primarily black figures backed by a white wall using paper, video, shadow puppets, or other projections. Walker has also branched out and created oversized sculptures.
Her silhouettes in African't (10.3.11) are almost life-sized. Men, women, and children who were black and white are depicted in different scenes before the civil war. The scenes present a diverse tableau of the white population's terror, violence, and inhumanity to the black people held in bondage. Walker displayed spoken and unspoken violence and sexual abuse. Each image has a specific interpretation, the details of a disturbing view of race relations in the American South. Walker usually positioned her silhouettes strung out against the wall or running down a wall by stairs, spreading the work to view each frame. Event Horizon (10.3.12, 10.3.13) is placed by the lobby's central stairway. The silhouettes represent the Underground Railroad and the African American's struggles for freedom, the installation resembling an Asian scroll. The first image depicts the man releasing a shackled woman who loses her hold of the child, all falling into the dark abyss. Walker's work is very detailed; the tiny fingers, braided hair, or ragged hem of the dress are all visible in the black cutouts. In any of Walker's images, the people's faces are not visible; their emotions are built into their body positions and interactions. The strong context of the black silhouettes against the stark white background removes all ideas of gray areas to explain the sinister horror of slavery. The video contains an interview with Walker.
Artist Kara Walker talks about the often-violent subject matter of her work and wonders what her imagination reflects about society as a whole.
In 2014, the massive sugar factory in Brooklyn, New York, would be demolished. Walker designed a monumental sculpture to represent the exploitation of the people throughout the history of the sugar trade. The building was constructed in the late nineteenth century to store raw sugar from the Caribbean before the sugar was refined and packaged; sugar was a luxury. Hundreds of thousands of enslaved people were taken to the Caribbean to work on the vast sugar plantations, building the sugar market on the backs of Africans shipped across the Atlantic. Sugar was also known as blood sugar, defining how humans bled through the exploited work in the fields or under the brutality of the overseers. Walker designed an immense sphinx-like woman, representing the building and the history of sugar.
A Subtlety or the Marvelous Sugar Baby (10.3.14) is located between two rows of steel columns; the Sugar Baby appearing as a colossal goddess. The sculpture was created from 330 huge polystyrene blocks and then covered with eighty tons of sugar—the sugar coating over the blocks allowed the seams of the polystyrene to show like quarried stone. When the Sugar Baby is approached from the front (10.3.15), her enlarged hands appear foreshortened; her pendulous breasts and her enigmatic face fill the space. Walking around the back of the statue (10.3.16), the viewer comes upon her buttocks jutting up from the shortened spine, thighs, and calves. "A powerful personification of the most beleaguered demographic in this country — the black woman — shows us where we all come from, innocent and unrefined." [4]
Around the Sugar Baby were thirteen small molasses-colored boys (10.3.17) standing about one and a half meters high. The statues were made from cast resin and covered in molasses or cast sugar, some light, others darker colors. The figures carried bananas or baskets, appeared to bring offerings, or were the only tired workers returning from the cane fields? The whole installation remained in place for a little over two months. The building was open to the elements, and the weather eroded the sculptures before they were taken down. The video describes Walker's work on the statute and her approach.
A look at the making of Kara Walker's "A Subtlety" at the Domino Sugar Factory.
Bharti Kher
Bharti Kher (1969-) was born in England and received her BA from Newcastle Polytechnic. She moved to India in 1993, where she still lives. Her art is based on a relationship between an object and its metaphysical and material dimensions and how she repositions the concepts and thoughts the viewer previously held. Most of her work includes the bindi, the red dot women in India apply to their forehead between the eyebrows. The red dot contains significant traditional and religious meanings and is generally associated with the Hindu definition of the third eye. Kher explained, "Many people believe it's a traditional symbol of marriage while others, in the West particularly, see it as a fashion accessory… But actually, the bindi is meant to represent a third eye – one that forges a link between the real and the spiritual-conceptual worlds." [5] Kher uses the bindi as part of her art, shifting the meaning. Her sculptures are generally fantastical, blurring the lines between real and mythical, typically made from found objects with their definition, which becomes changed. Kher makes her objects open to misinterpretation and magical thinking of abstract forms.
The Skin Speaks, a language not its own (10.3.18), is Kher's most well-known work. She became interested in the concept of elephants after seeing a photograph of a collapsed elephant being put into a truck, an image she had remembered for a long time before making her elephant. The life-sized elephant is made from fiberglass and lies on the ground on its stomach with its head turned. If an elephant dies, it falls to the ground on its side, and this elephant is sited differently. The elephant is covered with white bindis forming unending patterns on the elephant. Kher used the bindi to act as a skin on the elephant giving life to something dying. The heavy elephant appears to be lifted by the thousands of bindis as the bindi do not stop while they move over the elephant's skin. The elephant's head is turned, and the eye looks at the viewer.
Kher wanted to create the heart of the massive blue sperm whale; however, she did not find enough scientific documentation about the construction of the whale's heart, so she invented her version in An Absence of Assignable Cause (10.3.19). Kher designed the life-sized heart and added veins and arteries jutting out from the enormous heart. The sculpture is covered with colored bindis, which Kher applies individually to create precise patterns and movement. The monumental installation also reflects the position of the immense whale in the disintegrating environment. The video describes the installation of Kher's installation.
The Contemporary Art Evening Auction, to be held at Sotheby's New Bond Street on Monday 28th June, includes some of the most exciting works to appear on the open market in recent years. Seminal and long-recognized masterworks of Contemporary Art such as Yves Klein Re 49, Lucio Fontana Concetto Spaziale, La Fine di Dio, Gerhard Richter Neger (Nuba), and Frank Auerbach Mornington Crescent - Summer Morning would be worthy centerpieces of museum collections and are accompanied by more recent manifestations of artistic brilliance by the likes of Richard Prince Millionaire Nurse, Jean-Michel Basquiat Untitled, Bharti Kher The Skin Speaks a Language Not Its Own, and Jeff Koons Bear (Gold) and Jim Beam - Baggage Car. A powerful concert of Contemporary British Art includes essential works by Lucian Freud, Frank Auerbach, and Paula Rego, complimented by exceptional pieces by Peter Doig and Antony Gormley.
Dominque Gonzalez-Foerster
Dominque Gonzalez-Foerster (1965-) was born in France. She studied at the École du Magasin of the National Centre of Contemporary Art in Grenoble and the Institute des Hautes Études en Arts Plastiques in Paris. Although Gonzalez-Foerster started in film and video, she quickly expanded to photography and large art installations. Today, she works in both Paris and Rio de Janeiro. Gonzalez-Foerster creates her art based on exploring different relationships of bodies in space, the organic or inorganic, or the sensory effect on cognitive understanding. She likes to build interactive spaces and rooms, transforming public and private places, hoping to impact the viewer's mood, generate new perceptions, or trigger forgotten memories. Gonzalez-Foerster stated, "I always look for experimental processes. I like the fact that at the beginning I don't know how to do things and then, slowly, I start learning." [6]
Gonzalez-Foerster's installation, TH.2058 (10.3.20), is the creation of the city of London undergoing perpetual rainfall, never stopping and creating flooded, miserable conditions. The setting is in a museum now used to shelter people, store art, and warehouse what remains of the outside culture. The immense Turbine Hall is turned into the feeling of a sci-fi movie. Replicas of well-known sculptures like Louise Bourgeois' giant spider or the Flamingo by Alexander Calder tower over the installation create a disturbing feeling for the viewer. Viewers must push through a set of highly contrasted red and green curtains made from plastic as they walk into the hall. The sound of unending rain is playing, adding to the feeling of entering the unknown. On the hard cement floor, rows and rows of bunk beds are lining the area, all scattered with books. An oversized screen continually loops clips from science-fiction movies, visually presenting different catastrophes. The video shows Gonzalez-Foerster describing the installation.
Turbine Hall at Tate Modern: 'London under fictional attack' Artist Dominique Gonzalez-Foerster on her vision for the future at the Turbine Hall.
Gonzalez-Foerster created Pynchon Park (10.3.21) as an enclosed and controlled space where extraterrestrials could stand above and watch the humans playing belong. The optimal conditions of play and fun allow the aliens to see human behavior in a favorable situation. The installation covers a thousand square meters. Viewers could either stand on the balcony above the installation as an extraterrestrial would or enter under the netting and play with the mats and balls as a human under the microscope. Gonzalez-Foerster used balls because humans like balls and books. Both items encourage humans to assume different positions depending on how they feel and want to use the books or balls in their space. The aliens knew human's preference for balls and books and set up this environment to better observe them relaxed and at play.
Suzanne Lacy
Suzanne Lacy (1945-) is an artist-activist with a particular emphasis on art. She selects her medium based on the event or activity and says her primary medium is time, whose story it is, and what they mean. Lacy was born in the United States and graduated from California State University at Fresno. She became an activist early in life and worked with Judy Chicago and others shortly after graduating. They were creating a performance art about rape and rape victims' experiences. One of her early installations was about the invisibility of older women and how society's beauty standards affect and isolate them.
Lacy's installation entitled Three Weeks in January (10.3.22) was a reenactment of her show Three Weeks in May, some thirty-five years earlier. Large maps stood outside the Los Angeles Police Department's main office, and each time a rape occurred, it was painted on the map. Public events and speakers came on the platform to talk about rape, its effect on women, and how survivors cope. The soundtrack in the background ran with survivors talking. At the actual site of the rape, the crimes were written in chalk on the sidewalks. The entire installation and performance show ran for three weeks. Lacy has long been an advocate for women and particularly raising their voices about rape. Her inspiration for the show led her to state, "I've never been raped as that is defined now. But I, like every woman I know, have experienced an attempted assault. … Obviously there are social constraints and moral constraints to what I do, but I don't think there ought to be constraints based on the fact that I'm female. … The threat of me not being able to drive down the street at night on a lonely avenue or walk down the street is a circumscription of my freedom." [7]
At the Brooklyn Museum, Lacy created her work Between the Door and the Street (10.3.23). Almost four hundred women, representing a cross-section of ages, races, and backgrounds, sat on sixty different front porches. They were located in a residential block in Brooklyn and carried on conversations about issues related to gender politics as they viewed the problems today. The topics included equity, changing gender roles, labor, violence, poverty, and migration.[8] The participants wore yellow pashinas, the street curbs were painted yellow and yellow flowers in pots lined the way. As part of the discussions, the public was encouraged to walk about the neighborhood and listen to the views of the people speaking and deciding how different ideas fit into their own beliefs and value systems. The questions were placed on the steps to the museum. Anyone who saw the questions could engage in their conversations. In the video, Lacy discusses her work.
Suzanne Lacy discusses her life as an artist/activist since the 1970s. Describing her work as "feminist to the core," she expresses her interest in using art to construct a public sphere and encouraging young people to ask questions and collaborate.
Maya Lin
Maya Lin (born 1959) was born in Ohio after her parents emigrated from China. Both of her parents were professors at Ohio University. In high school, Lin studied bronze casting methods at a nearby university. After high school, she attended Yale University and earned Bachelor's and master's degrees. Lin was always interested in the environment, respecting nature, and balancing the man-made and the natural world. The video discusses Lin's projects.
In this milestone video, we feature visual artist/designer Maya Lin, who has a long history with the NEA, starting with her winning the public design competition for the Vietnam Veterans Memorial, which the NEA administered. She has also received an NEA Visual Arts Fellowship and the National Medal of Arts, as well as having her exhibitions and projects supported by the agency, including the most significant and longest project she has undertaken, the Confluence Project in Northwest U.S.
Lin was a university student studying architecture when she submitted her design for a nationwide competition for concepts of a new memorial to Vietnam veterans. Her design was very unusual and unlike the general tradition of memorial tributes. She proposed to build a V-shaped granite wall wh the names of every soldier who was killed or still missing inscribed on the wall. One end of the V-shape pointed towards the Washington Monument and the other towards the Lincoln Memorial, tying the design into existing structures. The black granite walls mirror each other as they slope below ground level with a long walkway in front of the polished, reflective wall (10.3.24). The new, controversial wall has become an accepted and essential tribute to the veterans of the contentious war, attended by many to visit a fallen soldier, lay flowers, or hang flags. The wall designed by Lin became a model for new and unusual memorials and sculptures. The names of the fallen (10.3.25) are inscribed on the highly polished wall as a man in uniform stands at attention. The man's reflection becomes part of the wall as though he was one with the other fallen names. The video describes her ideas for the Vietnam War Memorial.
Maya Lin, Vietnam Veterans Memorial, 1982, granite, 2 acres within Constitution Gardens, (National Mall, Washington, D.C.)
Systematic Landscapes was a series of different installations Lin created to give viewers unusual sights of the earth and how it looks. She used today's technologies to build the installations and generate unique views of the physical world. Lin stated, "I would say that I'm no different than an eighteenth-century landscape painter, but I have more than my eyes to take a look at nature." [9] Lin created multiple diverse exhibits using different technologies. Water Line (10.3.26) appears as an outline in space. Using aluminum tubing, Lin positions the frames as they would trace mountains buried deep underwater. The strong lines forming the contours give the viewer an intimate view of a previously unseen mountain range. The sculpture hangs from the ceiling, presenting a vision of walking on the ocean floor and looking skyward. Lin brings ambiguity to the image, blurring the concepts of where the sky and water intersect and challenging the viewers' idea of distinct environments. In the foreground, Blue Lake Pass (10.3.27) represents mountains cut into segments. The viewer can walk through the exhibit, experiencing the different valleys and peaks, a feeling of walking under the earth's crust. Lin was always interested in the various geological forces creating other regions, and she incorporated unusual views of the earth.
When Lin was growing up, she watched her father start an experimental glass studio. Her father even brought her a box of marbles; she thought they were like opening a water container. In her installation, Folding the Chesapeake (10.3.27), Lin used the same fiberglass material her father used in his experiments. Lin studied the Chesapeake Bay region and its changes over the decades. She used the water-colored marbles to recreate the region, installing the marbles up and down the walls and across the floor, appearing to be floating. Lin used 54,000 marbles to create the installation and bring the ecological importance of the entire waterway as a totality, a complete living system. The video described Lin's ideas when she made the installation.
Growing up in an artistic environment, Maya Lin sees the materials used in Folding the Chesapeake, installed at the Renwick Gallery, as a reflection of her childhood.
[1] Retrieved from https://www.gap.net.au/yayoi-kusama
[2] Retrieved from https://mattress.org/works/infinity-...mirrored-room/
[3] Retrieved from https://www.npr.org/templates/story/...ryId=103674782
[4] Retrieved by https://www.nytimes.com/2014/05/12/a...ino-plant.html
[5] Retrieved from https://www.hauserwirth.com/artists/2793-bharti-kher/
[6] Retrieved from https://www.tate.org.uk/art/artists/...foerster-10354
[7] Retrieved from https://www.wbur.org/news/2014/12/01/suzanne-lacy
[8] Retrieved from https://www.brooklynmuseum.org/exhib...s/suzanne_lacy
[9] TenBrink, M. (n.d.). Maya Lin's environmental installations: bringing the outside in. Retrieved from https://www.kon.org/urc/v9/Interconn...t/tenbrink.pdf