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Installation and Site Specific Art
A brief introduction to Installation and Site Specific Art
Twitter: https://twitter.com/ARTHIST_101
published: 12 Apr 2021
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What is Site in Site-Specific Art? Comparing Practices
Professor Susan Schweik (English, UC Berkeley) moderates a discussion of site-specific art featuring Raquel Gutierrez (Yerba Buena Center for the Arts) and Ava Roy and Lauren Dietrich Chavez (both of We Players). Rebecca Novick (Triangle Lab, California Shakespeare Theater) is respondent.
This session was part of of Reimagining the Urban: Bay Area Connections Across the Arts & Public Space, co-sponsored by the Global Urban Humanities Initiative (http://globalurbanhumanities.berkeley.edu) and the Arts Research Center (http://arts.berkeley.edu).
published: 09 Jan 2014
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Chapter 10 Site Specific Art
published: 08 Nov 2016
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Site Specific Art Installations | Art Loft
Exploring big, bold, and unexpected site-specific works.
Featured:
Hubert Phipps’ Rocket – a monumental sculpture of chrome and steel.
More at: bocamuseum.org/art-public-places
Anatomy, Study of the Wall – Director Diana Larrea and Artist/Producer Nathalie Alfonso document Alfonso’s painstaking work on this massive visual installation at the NSU Art Museum Fort Lauderdale.
More at: https://nsuartmuseum.org/exhibition/new-art-south-florida/
Mark Handforth’s Electric Tree - this film by Jorge Graupera & the Museum of Contemporary Art North Miami profiles Handforth’s public art installation “the Electric Tree.”
More at: https://mocanomi.org/2012/02/mark-handforth-electric-tree/
Superblue Miami - Miami’s first permanent immersive art space.
More at: www.superblue.com/miami/
published: 19 Jan 2022
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What is site specific art?
published: 10 Feb 2018
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Site Specific Art - protecting the artist's vision
Artist Susanna Heron talks through her experiences of being commissioned on public art projects, the pitfalls she encounters and how to get around them. Includes an overview on the rights, roles and responsibilities of commissioners and artists.
published: 05 Jul 2011
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Data Sound | Site-specific sound installation
Site specific, generative sound installation at Symposion Lindabrunn.
The remains of the sculture Data Spind by Franz Xaver, that was part of the media art lab of Kunsthaus Graz (MedienKunstLabor) in the early 2000s, was the starting point for this site specific sound installation. The sculpture consisted of a locker, where each lock box was equipped with a high speed internet connection, cooling and a power supply for computers. The lock boxes could be used by artists and internet activists to realize their projects.
48 vibration motors were mounted on the diffferent surfaces of the sculpture (glass, metal). When vibrating, the motors rhythmically hit the surfaces they were attached to, creating percussive sounds. The motors were controlled using pixelated images, while each pixel repre...
published: 15 Oct 2018
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WHAT IS INSTALLATION ART ? Transforming Spaces into Immersive Experiences
In this video, I'll take you on a tour of Installation Art origins and some of its most famous Artworks.
Because the word "install" implies "to put something inside of something else," Installation Art is a phrase that is commonly used to describe artwork that is located in three-dimensional interior space. Installation Art is frequently site-specific, meant to have a special architectural, conceptual, or social interaction with its physical surroundings, whether temporary or permanent.
It also establishes a high level of intimacy between itself and the observer since it lives as a presence inside the entire context of its container, whether that is a building, museum, or dedicated space, rather than as a valuable thing to be passively glanced at.
🔴 Subscribe to not miss the next videos...
published: 11 Apr 2022
-
Reflections and Shadows for Compositing 3D Models into Camera Projected 2D Photos
Reflections and Shadows for Compositing 3D Models into Camera Projected 2D Photos
0:00 Compositing 3D Models into Camera Projected 2D Photos
0:30 Environment 3D Mesh Setup
0:59 Add Mesh Emission Material
1:12 Add background image as image texture
1:31 UV Project Modifier
1:54 Subdivision Surface Modifier
2:11 Fix Image Aspect Ratio
2:59 Switch to Cycles Render Engine
3:15 Fix Repeating Texture
4:02 Add HDRI Sky Environment Texture
5:03 Separate Ground from Walls
5:30 Create Diffuse Material for Ground
6:21 Fix Visibility Walls
6:46 Add Shadow Catcher to Ground
7:00 Make Render Film Transparent
7:26 Background Image Show in Render
7:39 Add Viewer Node
7:51 Add Image Node
8:10 Add Alpha Over Node
8:25 Connect Nodes
published: 31 Aug 2024
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Bowdoin Art Museum: Artist's Site-Specific Drawings Stretch Language
The Bowdoin College Museum and Art will be holding a reception and opening festivities on March 29, Thursday afternoon, for the new exhibition, "Second Sight: the Paradox of Vision in Contemporary Art."
For a few days in February, Chicago-based artist Tony Lewis took over one half of a gallery at the Bowdoin College Museum of Art. With a team of fifteen Bowdoin student volunteers and his two assistants, and armed with power tools, screws, paint, and graphite powder, Lewis undertook the significant task of creating two large site-specific drawings for the museum.
The video above captures part of the process, from Feb. 15 to 18, of making one of the pieces on a museum wall.
Lewis's wall drawings are part of the museum's current exhibition of American art, Second Sight: The Paradox of Visi...
published: 26 Mar 2018
2:24
Installation and Site Specific Art
A brief introduction to Installation and Site Specific Art
Twitter: https://twitter.com/ARTHIST_101
A brief introduction to Installation and Site Specific Art
Twitter: https://twitter.com/ARTHIST_101
https://wn.com/Installation_And_Site_Specific_Art
A brief introduction to Installation and Site Specific Art
Twitter: https://twitter.com/ARTHIST_101
- published: 12 Apr 2021
- views: 3747
1:21:51
What is Site in Site-Specific Art? Comparing Practices
Professor Susan Schweik (English, UC Berkeley) moderates a discussion of site-specific art featuring Raquel Gutierrez (Yerba Buena Center for the Arts) and Ava ...
Professor Susan Schweik (English, UC Berkeley) moderates a discussion of site-specific art featuring Raquel Gutierrez (Yerba Buena Center for the Arts) and Ava Roy and Lauren Dietrich Chavez (both of We Players). Rebecca Novick (Triangle Lab, California Shakespeare Theater) is respondent.
This session was part of of Reimagining the Urban: Bay Area Connections Across the Arts & Public Space, co-sponsored by the Global Urban Humanities Initiative (http://globalurbanhumanities.berkeley.edu) and the Arts Research Center (http://arts.berkeley.edu).
https://wn.com/What_Is_Site_In_Site_Specific_Art_Comparing_Practices
Professor Susan Schweik (English, UC Berkeley) moderates a discussion of site-specific art featuring Raquel Gutierrez (Yerba Buena Center for the Arts) and Ava Roy and Lauren Dietrich Chavez (both of We Players). Rebecca Novick (Triangle Lab, California Shakespeare Theater) is respondent.
This session was part of of Reimagining the Urban: Bay Area Connections Across the Arts & Public Space, co-sponsored by the Global Urban Humanities Initiative (http://globalurbanhumanities.berkeley.edu) and the Arts Research Center (http://arts.berkeley.edu).
- published: 09 Jan 2014
- views: 7318
26:47
Site Specific Art Installations | Art Loft
Exploring big, bold, and unexpected site-specific works.
Featured:
Hubert Phipps’ Rocket – a monumental sculpture of chrome and steel.
More at: bocamuseum...
Exploring big, bold, and unexpected site-specific works.
Featured:
Hubert Phipps’ Rocket – a monumental sculpture of chrome and steel.
More at: bocamuseum.org/art-public-places
Anatomy, Study of the Wall – Director Diana Larrea and Artist/Producer Nathalie Alfonso document Alfonso’s painstaking work on this massive visual installation at the NSU Art Museum Fort Lauderdale.
More at: https://nsuartmuseum.org/exhibition/new-art-south-florida/
Mark Handforth’s Electric Tree - this film by Jorge Graupera & the Museum of Contemporary Art North Miami profiles Handforth’s public art installation “the Electric Tree.”
More at: https://mocanomi.org/2012/02/mark-handforth-electric-tree/
Superblue Miami - Miami’s first permanent immersive art space.
More at: www.superblue.com/miami/
https://wn.com/Site_Specific_Art_Installations_|_Art_Loft
Exploring big, bold, and unexpected site-specific works.
Featured:
Hubert Phipps’ Rocket – a monumental sculpture of chrome and steel.
More at: bocamuseum.org/art-public-places
Anatomy, Study of the Wall – Director Diana Larrea and Artist/Producer Nathalie Alfonso document Alfonso’s painstaking work on this massive visual installation at the NSU Art Museum Fort Lauderdale.
More at: https://nsuartmuseum.org/exhibition/new-art-south-florida/
Mark Handforth’s Electric Tree - this film by Jorge Graupera & the Museum of Contemporary Art North Miami profiles Handforth’s public art installation “the Electric Tree.”
More at: https://mocanomi.org/2012/02/mark-handforth-electric-tree/
Superblue Miami - Miami’s first permanent immersive art space.
More at: www.superblue.com/miami/
- published: 19 Jan 2022
- views: 8229
8:27
Site Specific Art - protecting the artist's vision
Artist Susanna Heron talks through her experiences of being commissioned on public art projects, the pitfalls she encounters and how to get around them. Include...
Artist Susanna Heron talks through her experiences of being commissioned on public art projects, the pitfalls she encounters and how to get around them. Includes an overview on the rights, roles and responsibilities of commissioners and artists.
https://wn.com/Site_Specific_Art_Protecting_The_Artist's_Vision
Artist Susanna Heron talks through her experiences of being commissioned on public art projects, the pitfalls she encounters and how to get around them. Includes an overview on the rights, roles and responsibilities of commissioners and artists.
- published: 05 Jul 2011
- views: 5823
2:46
Data Sound | Site-specific sound installation
Site specific, generative sound installation at Symposion Lindabrunn.
The remains of the sculture Data Spind by Franz Xaver, that was part of the media art lab...
Site specific, generative sound installation at Symposion Lindabrunn.
The remains of the sculture Data Spind by Franz Xaver, that was part of the media art lab of Kunsthaus Graz (MedienKunstLabor) in the early 2000s, was the starting point for this site specific sound installation. The sculpture consisted of a locker, where each lock box was equipped with a high speed internet connection, cooling and a power supply for computers. The lock boxes could be used by artists and internet activists to realize their projects.
48 vibration motors were mounted on the diffferent surfaces of the sculpture (glass, metal). When vibrating, the motors rhythmically hit the surfaces they were attached to, creating percussive sounds. The motors were controlled using pixelated images, while each pixel represented one motor, making it possible to trigger and manipulate the movement of each motor individually. The brighter the pixel, the stronger the vibration of the motor and the louder and more pronounced the sound. Generative patterns like perlin noise and gradients were used to create spatial movement on the surface of the object.
mnclr.com
https://wn.com/Data_Sound_|_Site_Specific_Sound_Installation
Site specific, generative sound installation at Symposion Lindabrunn.
The remains of the sculture Data Spind by Franz Xaver, that was part of the media art lab of Kunsthaus Graz (MedienKunstLabor) in the early 2000s, was the starting point for this site specific sound installation. The sculpture consisted of a locker, where each lock box was equipped with a high speed internet connection, cooling and a power supply for computers. The lock boxes could be used by artists and internet activists to realize their projects.
48 vibration motors were mounted on the diffferent surfaces of the sculpture (glass, metal). When vibrating, the motors rhythmically hit the surfaces they were attached to, creating percussive sounds. The motors were controlled using pixelated images, while each pixel represented one motor, making it possible to trigger and manipulate the movement of each motor individually. The brighter the pixel, the stronger the vibration of the motor and the louder and more pronounced the sound. Generative patterns like perlin noise and gradients were used to create spatial movement on the surface of the object.
mnclr.com
- published: 15 Oct 2018
- views: 1153
8:33
WHAT IS INSTALLATION ART ? Transforming Spaces into Immersive Experiences
In this video, I'll take you on a tour of Installation Art origins and some of its most famous Artworks.
Because the word "install" implies "to put something i...
In this video, I'll take you on a tour of Installation Art origins and some of its most famous Artworks.
Because the word "install" implies "to put something inside of something else," Installation Art is a phrase that is commonly used to describe artwork that is located in three-dimensional interior space. Installation Art is frequently site-specific, meant to have a special architectural, conceptual, or social interaction with its physical surroundings, whether temporary or permanent.
It also establishes a high level of intimacy between itself and the observer since it lives as a presence inside the entire context of its container, whether that is a building, museum, or dedicated space, rather than as a valuable thing to be passively glanced at.
🔴 Subscribe to not miss the next videos: https://www.youtube.com/@ArtTheory_?s...
🎬 CHECK OUT OUR OTHER VIDEOS
► Installation Art: https://www.youtube.com/watch?v=sgKzE...
► Minimalism Art: https://www.youtube.com/watch?v=p0zrf...
► Conceptual Art: https://www.youtube.com/watch?v=yI2Wh...
🕘 CHAPTERS
00:00 - What's Installation Art ?
02:19 - Installation Art in 8 Masterpieces
08:08 - Outro
🔎 ABOUT OUR CHANNEL
If you're interested in learning more about modern and contemporary art, you've come to the right place. We'll be going in-depth on what makes up the art world, how to understand modern and contemporary art, and where to find it.
Check out our channel here: https://www.youtube.com/@ArtTheory_?s...
Don’t forget to subscribe!
#arttheory #art
https://wn.com/What_Is_Installation_Art_Transforming_Spaces_Into_Immersive_Experiences
In this video, I'll take you on a tour of Installation Art origins and some of its most famous Artworks.
Because the word "install" implies "to put something inside of something else," Installation Art is a phrase that is commonly used to describe artwork that is located in three-dimensional interior space. Installation Art is frequently site-specific, meant to have a special architectural, conceptual, or social interaction with its physical surroundings, whether temporary or permanent.
It also establishes a high level of intimacy between itself and the observer since it lives as a presence inside the entire context of its container, whether that is a building, museum, or dedicated space, rather than as a valuable thing to be passively glanced at.
🔴 Subscribe to not miss the next videos: https://www.youtube.com/@ArtTheory_?s...
🎬 CHECK OUT OUR OTHER VIDEOS
► Installation Art: https://www.youtube.com/watch?v=sgKzE...
► Minimalism Art: https://www.youtube.com/watch?v=p0zrf...
► Conceptual Art: https://www.youtube.com/watch?v=yI2Wh...
🕘 CHAPTERS
00:00 - What's Installation Art ?
02:19 - Installation Art in 8 Masterpieces
08:08 - Outro
🔎 ABOUT OUR CHANNEL
If you're interested in learning more about modern and contemporary art, you've come to the right place. We'll be going in-depth on what makes up the art world, how to understand modern and contemporary art, and where to find it.
Check out our channel here: https://www.youtube.com/@ArtTheory_?s...
Don’t forget to subscribe!
#arttheory #art
- published: 11 Apr 2022
- views: 52660
8:55
Reflections and Shadows for Compositing 3D Models into Camera Projected 2D Photos
Reflections and Shadows for Compositing 3D Models into Camera Projected 2D Photos
0:00 Compositing 3D Models into Camera Projected 2D Photos
0:30 Environment 3...
Reflections and Shadows for Compositing 3D Models into Camera Projected 2D Photos
0:00 Compositing 3D Models into Camera Projected 2D Photos
0:30 Environment 3D Mesh Setup
0:59 Add Mesh Emission Material
1:12 Add background image as image texture
1:31 UV Project Modifier
1:54 Subdivision Surface Modifier
2:11 Fix Image Aspect Ratio
2:59 Switch to Cycles Render Engine
3:15 Fix Repeating Texture
4:02 Add HDRI Sky Environment Texture
5:03 Separate Ground from Walls
5:30 Create Diffuse Material for Ground
6:21 Fix Visibility Walls
6:46 Add Shadow Catcher to Ground
7:00 Make Render Film Transparent
7:26 Background Image Show in Render
7:39 Add Viewer Node
7:51 Add Image Node
8:10 Add Alpha Over Node
8:25 Connect Nodes
https://wn.com/Reflections_And_Shadows_For_Compositing_3D_Models_Into_Camera_Projected_2D_Photos
Reflections and Shadows for Compositing 3D Models into Camera Projected 2D Photos
0:00 Compositing 3D Models into Camera Projected 2D Photos
0:30 Environment 3D Mesh Setup
0:59 Add Mesh Emission Material
1:12 Add background image as image texture
1:31 UV Project Modifier
1:54 Subdivision Surface Modifier
2:11 Fix Image Aspect Ratio
2:59 Switch to Cycles Render Engine
3:15 Fix Repeating Texture
4:02 Add HDRI Sky Environment Texture
5:03 Separate Ground from Walls
5:30 Create Diffuse Material for Ground
6:21 Fix Visibility Walls
6:46 Add Shadow Catcher to Ground
7:00 Make Render Film Transparent
7:26 Background Image Show in Render
7:39 Add Viewer Node
7:51 Add Image Node
8:10 Add Alpha Over Node
8:25 Connect Nodes
- published: 31 Aug 2024
- views: 95
3:30
Bowdoin Art Museum: Artist's Site-Specific Drawings Stretch Language
The Bowdoin College Museum and Art will be holding a reception and opening festivities on March 29, Thursday afternoon, for the new exhibition, "Second Sight: t...
The Bowdoin College Museum and Art will be holding a reception and opening festivities on March 29, Thursday afternoon, for the new exhibition, "Second Sight: the Paradox of Vision in Contemporary Art."
For a few days in February, Chicago-based artist Tony Lewis took over one half of a gallery at the Bowdoin College Museum of Art. With a team of fifteen Bowdoin student volunteers and his two assistants, and armed with power tools, screws, paint, and graphite powder, Lewis undertook the significant task of creating two large site-specific drawings for the museum.
The video above captures part of the process, from Feb. 15 to 18, of making one of the pieces on a museum wall.
Lewis's wall drawings are part of the museum's current exhibition of American art, Second Sight: The Paradox of Vision in Contemporary Art (open through June 3) (http://www.bowdoin.edu/art-museum/exhibitions/2018/second-sight.shtml#Works). The show, which gathers the work of twenty-two contemporary artists, explores “the significance of what we cannot see, whether by choice, habit, or physiological limitations, in the world around us,” according to curator Ellen Tani, who is Bowdoin’s current Andrew W. Mellon Postdoctoral Curatorial Fellow. One such area of artistic investigation is language.
Lewis’s installations, as Tani describes, “regularly engage the relationship between language and abstraction, and expand the practice of drawing to a sculptural and architectural scale. They focus our attention on the voice of authority, which printed language often disguises.” The larger drawing in Second Sight consists of appropriated text: 1459 ♦ Stand out from the crowd spells out its title in rubber bands coated in white graphite powder, screws, and paint. Lewis says he encountered this particular phrase (and many others like it), in the best-selling manual Life’s Little Instruction Book, first published in 1991. After reading some of the book’s snippets of so-called wisdom, Lewis questioned if they were in fact universally applicable, or if they were not intended for the life circumstances of a non-white man living in the United States.
Lewis’s other site-specific drawing, Rubber, appears as an abstract gesture but represents a form of language: it is the Gregg shorthand character for “rubber,” made of black graphite-coated rubber bands. Gregg shorthand is a stenographic system for recording spoken language; its cursive-like form is actually phonetic, each section of a line corresponding to a sound.
"[Rubber] is concerned with the display of content, the actual content of the writing system as abstraction, as shape, as form, and as language and as sound," Lewis said in an interview with Tani. "One of the main reasons why I like that drawing is because it is a surface piece. It is about the here and now, in your body looking and seeing and reading. It doesn't take you anywhere else, it is about itself, and it is almost like a deep sigh — or a tense sigh."
https://wn.com/Bowdoin_Art_Museum_Artist's_Site_Specific_Drawings_Stretch_Language
The Bowdoin College Museum and Art will be holding a reception and opening festivities on March 29, Thursday afternoon, for the new exhibition, "Second Sight: the Paradox of Vision in Contemporary Art."
For a few days in February, Chicago-based artist Tony Lewis took over one half of a gallery at the Bowdoin College Museum of Art. With a team of fifteen Bowdoin student volunteers and his two assistants, and armed with power tools, screws, paint, and graphite powder, Lewis undertook the significant task of creating two large site-specific drawings for the museum.
The video above captures part of the process, from Feb. 15 to 18, of making one of the pieces on a museum wall.
Lewis's wall drawings are part of the museum's current exhibition of American art, Second Sight: The Paradox of Vision in Contemporary Art (open through June 3) (http://www.bowdoin.edu/art-museum/exhibitions/2018/second-sight.shtml#Works). The show, which gathers the work of twenty-two contemporary artists, explores “the significance of what we cannot see, whether by choice, habit, or physiological limitations, in the world around us,” according to curator Ellen Tani, who is Bowdoin’s current Andrew W. Mellon Postdoctoral Curatorial Fellow. One such area of artistic investigation is language.
Lewis’s installations, as Tani describes, “regularly engage the relationship between language and abstraction, and expand the practice of drawing to a sculptural and architectural scale. They focus our attention on the voice of authority, which printed language often disguises.” The larger drawing in Second Sight consists of appropriated text: 1459 ♦ Stand out from the crowd spells out its title in rubber bands coated in white graphite powder, screws, and paint. Lewis says he encountered this particular phrase (and many others like it), in the best-selling manual Life’s Little Instruction Book, first published in 1991. After reading some of the book’s snippets of so-called wisdom, Lewis questioned if they were in fact universally applicable, or if they were not intended for the life circumstances of a non-white man living in the United States.
Lewis’s other site-specific drawing, Rubber, appears as an abstract gesture but represents a form of language: it is the Gregg shorthand character for “rubber,” made of black graphite-coated rubber bands. Gregg shorthand is a stenographic system for recording spoken language; its cursive-like form is actually phonetic, each section of a line corresponding to a sound.
"[Rubber] is concerned with the display of content, the actual content of the writing system as abstraction, as shape, as form, and as language and as sound," Lewis said in an interview with Tani. "One of the main reasons why I like that drawing is because it is a surface piece. It is about the here and now, in your body looking and seeing and reading. It doesn't take you anywhere else, it is about itself, and it is almost like a deep sigh — or a tense sigh."
- published: 26 Mar 2018
- views: 757