• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content
From Idea To Concept, Environment, Performance And Installation
 

From Idea To Concept, Environment, Performance And Installation

on

  • 1,947 views

Continuing to look at the fall-out from modernism, this week we explore land-art, performance and installation. Specific emphasis is placed upon the work of Robert Smithson and Ana Mendieta.

Continuing to look at the fall-out from modernism, this week we explore land-art, performance and installation. Specific emphasis is placed upon the work of Robert Smithson and Ana Mendieta.

Statistics

Views

Total Views
1,947
Views on SlideShare
1,939
Embed Views
8

Actions

Likes
0
Downloads
51
Comments
0

2 Embeds 8

http://www.slideshare.net 7
https://fiu.blackboard.com 1

Accessibility

Categories

Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

CC Attribution-ShareAlike LicenseCC Attribution-ShareAlike License

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

    From Idea To Concept, Environment, Performance And Installation From Idea To Concept, Environment, Performance And Installation Presentation Transcript

    • Postmodernism in art: an introduction
      from object to concept: environment, performance and installation
    • Walter De Maria Lightning Field (1971) Western New Mexico
    • Richard Long (1967) A Line Made by Walking England.
    • Robert Smithson
      Nonsite, Franklin, New Jersey
    • Robert Smithson
      “One thing films have is the power to take perception elsewhere” (Smithson [1971] 1979, p.105)
      Spiral Jetty (1970)
      Actual work made in the Great Salt Lake in Utah.
    • Robert Smithson
      “Like the nonsite, the Jetty is not a discrete work, but one link in a chain of signifiers which summon and refer to one another in a dizzying spiral. For where else does the Jetty exist except in the film which Smithson made, the narrative he published, the photographs which accompany that narrative, and the various maps, diagrams, drawings, etc., he made about it?” (Owens [1979] 1994, p.47)
    • Ana Mendieta
      Ana Mendieta, untitled from the Silhueta Series. photographs of performance-based earthworks, Mexico (1973-1980)
    • Glass on body (1972)
      Ana Mendieta
    • Rape Scene (1973)
    • Judy Chicago (1971)
      Hannah Wilke (1977)
    • Hannah Wilke (1978-81) Potrait of the Artist with Her Mother, Selma Butter
    • Hannah Wilke (1992) Intra Venus [detail]
    • Laurie Anderson
      Mach 20 (1983), from United States
      Clip from “O Superman” ([1981]1982)
    • Installation
      Mark Rosenthal suggested that Installation art might be best understood when broken up as follows:
    • Enchantment
      Right: Lucas Samaras (1966) Mirror Room. Below: IlyaKabakovThe Man who Flew in to Space (1985)
    • Impersonations
      JannisKounellis (1969) Untitled
    • Interventions
      Vito Acconci (1972) in Sonnabend Gallery, New york
    • Rapproachments
      Christo and Jeanne-Claude
    • Bruce Nauman (1970-1) Green Light Corridor
    • References
      Owens, C ([1979] 1994) Earthwords, in Owens, C Beyond Recognition: Representation, Power and Culture. London, University of California Press. Pp. 40-51
      Smithson ([1971] 1979) A Cinematic Atopia, in Holt, N (ed.) The writings of Robert Smithson. New York, New York University Press.
    • Appendix: Robert Smithson
      Site
      Open Limits
      A series of points
      Outer Coordinates
      Subtraction
      Indeterminate Certainty
      Scattered Information
      Reflection
      Edge
      Some Place (physical)
      Many
      Non-Site
      Closed Limits
      An Array of Matter
      Inner Coordinates
      Addition
      Determinate Uncertainty
      Contained Information
      Mirror
      Center
      No Place (abstract)
      One