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Definition

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DEFINITION
-Installation art sits right on that curious border between architecture, art and interior design – part physical experiment, part personal expression and part designed space. These works of installation artists show the untapped potential of spatial experience not often seen in more purely functional (or purely artistic) works of design.

-Installation art describes an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called Land art; however, the boundaries between these terms overlap.
- Type of modern art in which the artist uses, as part of the composition, the specific setting (such as walls, floor, lights, and fittings) along with various materials. Typically the chosen materials more or less fill the space, and the viewer is often able to move around or otherwise interact with the work, so that they become part of that work in that specific moment in time.

BRIEF AND HISTORY
Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces. The genre incorporates a broad range of everyday and natural materials, which are often chosen for their "evocative" qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Many installations are site-specific in that they are designed to exist only in the space for which they were created. A number of institutions focusing on Installation art were created from the 1980s onwards, suggesting the need for Installation to be seen as a separate discipline. These included the Mattress Factory, Pittsburgh, the Museum of Installation in London, and the Fairy Doors of Ann Arbor, MI, among others.
Installation art came to prominence in the 1970s but its roots can be identified in earlier artists such as Marcel Duchamp and his use of the readymade and Kurt Schwitters' Merz art objects, rather than more traditional craft based sculpture. The "intention" of the artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. This again is a departure from traditional sculpture which places its focus on form. Early non-Western installation art includes events staged by the Gutai group in Japan starting in 1954, which influenced American installation pioneers like Allan Kaprow. Wolf Vostell shows his installation „6 TV De-coll/age“ in 1963 [1] at the at the Smolin Gallery in New York. * This visual art form ranges from the very simple to the very complex. An installation can be gallery based, digital based, electronic based, web-based - the possibilities are limitless and depend entirely upon the artist's concept and aims. Almost any type of material or media can be utilized in contemporary installation art, including natural or man-made objects, painting and sculpture, as well as new media such as video, film, photography, audio, performance,happenings and computers. * Some compositions are strictly indoor, while others are public art, constructed in open-air community spaces. Some are mute, while others are interactive and require audience participation.

Installation as nomenclature for a specific form of art came into use fairly recently; its first use as documented by the Oxford English Dictionary was in 1969. It was coined in this context, in reference to a form of art that had arguably existed since prehistory but was not regarded as a discrete category until the mid-twentieth century. Allan Kaprow used the term “Environment” in 1958 (Kaprow 6) to describe his transformed indoor spaces; this later joined such terms as “project art” and “temporary art.”
Essentially, installation/environmental art takes into account a broader sensory experience, rather than floating framed points of focus on a “neutral” wall or displaying isolated objects (literally) on a pedestal. This may leave space and time as its only dimensional constants, implying dissolution of the line between "art" and "life"; Kaprow noted that “if we bypass ‘art’ and take nature itself as a model or point of departure, we may be able to devise a different kind of art... out of the sensory stuff of ordinary life” * FROM 19802 TO NOW * Installations generally are exhibited for a relatively brief period and then dismantled, leaving only documentation. Their unsalability and their labor-intensiveness proved an unsatisfying combination in the increasingly market-attuned art world of the early 1980s. The “crash” of the art market at the end of the 1980s and a reawakening of interest in Conceptualism, led, in the early 90s, to a proliferation of installations, often composed of salable parts. Today the term installation is sometimes applied to permanent, site-specific, sculptural ensembles created for corporate or public settings.
Emerging during the 1970s, Installation is associated with Conceptual art and can therefore be traced back to artists such as Marcel Duchamp (1887-1968) and his modernist readymades such as his controversial urinal calledFountain (1917). Other influences include the avant-garde Dada exhibitions in Berlin and Cologne; the work of the collage artist and sculptor Kurt Schwitters(1887-1948), notably his 'Merzbau' assemblage which filled a whole building; the Proun Room at the Berlin Railway Station in 1923, designed by the Russian artist El Lissitzky (1890-1941), possibly the earliest ever installation; theSpatial Environments of the painter and sculptor Lucio Fontana (1899-1968) and his White Manifesto outlining his theories of Spatialism; the "4-33" silent musical composition composed by John Milton Cage Jr (1912–1992). In addition, the assemblages and writings of the American avant-garde artist Allan Kaprow (b.1927) - notably his 1966 book 'Assemblage, Environments and Happenings' - were also highly influential on the development of the Installation genre.
EXAMPLES
Banksy’s Telephone Booth
To parody the decline of the famous London Telephone Booths, infamous British guerilla artist Banksy puts an axe through this one.

Reymond's Real Life Transformer

One of the most famous works of french artist Guillaume Reymond, this series of performances, "TRANSFORMERS", brings together different types of vehicles, gathering them according to a precise choreography, and creating what looks from the sky like gigantic robots.

Dougherty's Branchworks

Artist Patrick Dougherty makes fantastic sculptures and huts from saplings, branches, and twigs. This one above is called the Na Hale ‘o waiai, Hawaiian for "Wild dwellings built from strawberry guava."

Havel's Tunnel House

Houston artists Dan Havel and Dean Ruck turned them into an art installation known as ‘Inversion.’ Using boards from the outside of the houses they created a large funnel-like vortex running between the two that ends in a small hole in an adjacent courtyard. It’s a cool effect particularly for those who always wanted to experience a black hole without the whole ‘being crushed to a quantum singularity’ end result.

Azevedo's Ice Sculptures of Melting Men

Brazilian artist Nele Azevedo created hundreds of sitting figures out of ice. The installation lasted till the last one melted in the heat of the day.

Mortimer's Public Prayer Booth

Combining a telephone booth and a prayer station, Kansas City-based artist Dylan Mortimer created this installation called "Public Prayer Booth". If you ever came across one, you can pull down the kneeler and pray on the spot.

Broecker's Drink Away the Art

Drinking in the name of art... what can be better? On this "interactive art" installation by Hannes Broecker, museum goers are invited to pick up a glass and take a drink of a variety of cocktails in the container.

Salcedo's Chair Building

This amazing art installation was made by Colombian sculptor Doris Salcedo for the International Istanbul Biennale in 2003. She used over 1,550 chairs stacked on an empty lot between two buildings.

Verdonck's Giant Nest

Belgian artist Benjamin Verdonck created a nest on the Rotterdam Weena Tower and stayed there for a while, on an installation called "the Great Swallow".

Lerner's Traffic Flow Panels

This interactive art installation in Munich was created by artist Markus Lerner for Osram, Germany. The interactive panels react to the flow of the passing traffic. It is interesting to see how the artist has used the passing traffic as an influencing input of the artwork, but the feedback appears to be very subtle. See video of installation in action below.
Read more athttp://www.oddee.com/item_96507.aspx#C9sOUxHIpSZootay.99
.installation artwork have been constructed in exhibition spaces such as museum n galleries as well as public n private places. D genre incorporates a broad range of everyday n natural materials wich r often chosn 4 der evocative qualities. Many installations r site specific in dat det r designed toexist only in d space for wich dey wer created

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