Art Now

Claire Bishop's 3 Types of Delegated Performances

(1) "The first type of delegated performance...is actions outsourced to non-professionals who are asked to perform an aspect of their identities" - "this tendency...we might call 'live installation'" i.e. Elmgreen & Dragset, Try - 1997 (where they hired variously gay men to lounge in a gallery listening to headphones) (2) "The second type of delegated performance...is the use of professionals from other spheres of expertise" i.e. Allora and Calzadilla, Sediments, Sentiments, Figures of Speech - 2007 - hiring opera singers or pianists (3) "The third type of delegated performance...is situations constructed for video and film...works where the artist devises the entire situation being filmed...where the participants are asked to perform themselves" i.e. Phil Collins' They Shoot Horses - 2004 - paid 9 teens to undertake and 8 hour disco dancing marathon - this is shown in a two-channel installation where the filmed teens r the same size as the viewers

Terry Smith, 'What is Contemporary Art?'

- "A.W. Mellon (1995): "contemporary has come to designate something more than simply the art of the present moment...it designates less a period...it has this quality of being about history" - The challenges of contemporaneity..."signs of the times...at the same time"

Claire Bishop, 'Delegated Performance'

- "Although the artist delegates power to the performers -entrusting them with agency while also affirming hierarchy, delegation is not just a one-way, downward gesture. The performers also delegate something to the artist: a guarantee of authenticity" - "By relocating...and self-constituting authenticity from the singular artist...and onto the collective presence of the performers...the artist outsources authenticity and relies on his performers to supply" - "Using 'amateurs' is essential in this regard, for it ensures that delegated performance will never assume the seamless character of professional acting and keeps open a space of risk and ambiguity"

Mark Godfrey, 'The Artist as Historian'

- "Artist's...practice starts with research archives...they invite viewers to think about the past; to make connections between events, characters, and objects; to join together in memory; and to reconsider the ways in which the past is represented in the wider culture"

Mark Godfrey, 'The Artist as Historian'

- "Buckingham has not made art that directly quotes or revisits particular works from this period 1965 and 1975...however. His work has consistently deployed forms and practices that emerged precisely from 1965 -1975" - "Buckingham is as concerned with researching particular events or stories as he is with researching the way in which such events have formerly been narrated or indeed ignored in received historical writing"

Terry Smith, 'What is Contemporary Art?'

- "Contemporary art has become hip" - "exhibitions of contemporary art keep on being popular...because they are answering public needs...the art is engaging with the most important issues of our time" - Neshat, Cunningham..."their work is quite particular to present experience"

Mark Godfrey, 'The Artist as Historian'

- "Hollywood turns history into fiction, but other artists turn precisely to fiction...to represent historical experience more adequately" - "Other recent artists have been concerned with the rather obvious project of showing how documents can lie" - "Perhaps it is the approaching digitization of all photographic mediums that sensitizes artists to the way in which such mediums used to serve as records of the past - and this sensitivity provokes artists to make work about the past"

Irina O. Rajewsky, 'Border Talks'

- "In literary studies as well as in field such as art history, music and theatre and film studies, there is a repeated focus on an entire range of phenomena qualifying as intermedial. Examples include those phenomena which for a long time have been designated by terms such as filmic writing...musicalization of literature, as well as such phenomena as film adaptations of literary works...opera, comics...installations...All of these phenomena have to do in some way with a crossing of borders between media and are in so far characterized by a quality of intermediality in the broadest sense."

Terry Smith, 'What is Contemporary Art?'

- "It is now common to merge the terms 'modern' and 'contemporary' into one, or drop modernism into the past. The same thing happened by around 1990 to the term 'postmodernism." - "Usage of word 'Contemporary' - in museums, book titles, course names, for example - as a period style term"

Giselle Beiguelman, 'Corrupted Memories'

- "It was from the 1960s onwards that a new aesthetics of memory began to proliferate in different formats and languages...there are two basic components: one being the site-specific practices that involve a profound reconfiguration of the paradigms and concepts of public art, and two, a whole 'wave' of artists whose work is dedicated to the theme of archives" - "there are countless ways in which contemporary art...transformed the idea of the archive 'from a repository of documents to an art medium"

Mark Godfrey, 'The Artist as Historian'

- "Matthew Buckingham, an artist who has also used photographic mediums...since the early 1990s...he has investigated various histories" For example slavery in his film Amos Fortune Road, 1996 - "Buckingham...initiates his historical research because of the urgency of a particular idea in the contemporary moment, and his research produces a politicized reinterpretation" - "Buckingham tries to work central to the notion of Walter Benjamin which forces us to confront history as a construction...we are restaging those events here and now in order to think about what's happening here and now"

Giselle Beiguelman, 'Corrupted Memories'

- "Memory has become both an intellectual challenge and a commodity for easy consumption" - "Dialogue between artistic practices and memory has been a recurrent theme since the very dawn of modernity" - Case of Louis XIV: "his public image was fabricated, using all the media available in his time - paintings, statues, medals, journals - and how institutions were specially founded or reorganized in order to record the monarch's achievements...transforming art into an important mechanism of political propaganda"

Mark Godfrey, 'The Artist as Historian'

- "On the one hand, globalized capitalist culture is increasingly amnesiac, increasingly focussed on ever newer markets, products, and experiences. On the other hand, this same culture produces ever more spectacular and romantic representations of the past - particularly in film" - "these representations appear more and more politically suspect" - (Kracauer 1928): "they will risk depicting a successful revolution in historical costumes in order to induce people to forget modern revolutions"

Hal Foster, 'In Praise of Actuality'

- "Participatory art is called up by participatory work in the recent years, including relational aesthetics...which is another...tradition of creative interdetermincy" - "In culture at large, communication and connectivity are promoted, almost enforced, for their own sake...Just as the viewer must be deemed passive in order to be activated, so artwork and art museum alike must be deemed lifeless so that they can be reanimated" - "when process opens up the work of art radically, it...runs the risk of formlessness" a theory of Bataille

Hal Foster, 'In Praise of Actuality'

- "Performative...like process...is said to activate the viewer...when...combined that is, when a process - an action or gesture - is performed" - "Works that appear unfinished hardly ensure that the viewer will be engaged; indifference is...a result" - "The critique of authorship as authority has done its job, even done it too well...Barthes celebrated 'the death of the author' and other like Duchamp challenged the dominance of two positions...1) the formalist idea of work understood as a closed system of significance...and 2) the popular idea of the artist seen as the found of all meaning"

Giselle Beiguelman, 'Corrupted Memories'

- "Robert Smithson...'instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future...they are not built for the ages, but rather against the ages" - "Instead of celebrating a progressively more stable future, by preserving fragments of the past, museums of digital art should be the museums of the unfinished, the unrepaired and the unretrieved"

Mark Godfrey, 'The Artist as Historian'

- "Since the 1960s, there have of course been crucial attempts by artists to rethink and reinvigorate the legacy of history painting." - "Few photo-conceptual artists attempted to create new ways of confronting historical events or addressing the various ways in which the past was represented to the wider culture" - In 1979 = "historical research and representation appear central to contemporary art"

Hal Foster, 'In Praise of Actuality'

- "The need to fix a moment where everything is complete" ....relational aesthetics... - "this traditionality...once thought to shield the artwork from commodity status...and from the artist brand...yet it did neither effectively" - In Greenbergian view "the...path was to push the...mediums of art to 'the expression of an absolute in which all relativities and contradictions would be either resolved or beside the point" - "a superior work helps us to actualize those diverse temporalities"

Claire Bishop, 'Delegated Performance'

- "The repeatability of delegated performance - both as a live event or...video loop - is central to the economics of performance since 1990, enabling it to be bought and sold by institutions and individuals" - "Economic changes...not only provide the contextual backdrop for contemporary art but also affect our reception of it." - "Pierre Bal-Blanc suggests, in delegated performance two types of perversion confront each other...the perversity exercised by institutions and presented as a norm, and that employed by artists, which by contrast appears as an anomaly or exception."

Giselle Beiguelman, 'Corrupted Memories'

- "We are not only experiencing a super production of memory, but also a documentary overdose" - "In...'The Historiographical Operation' - Michel de Certeau wrote... 'in history, everything begins with the act of separating, gathering and turning certain objects that were otherwise distributed into documents. However, this separation is always done after the work of the archivist, who is responsible for the selection and organization of documents that will be kept at the expense of those that will be discarded...(1982)"

Hal Foster, 'An Archival Impulse'

- "archival artists seek to make historical information, often lost or displaced, physically present...they elaborate on the found image, object, and text, and favor the installation format" - "Archival art is...drawn to unfulfilled beginnings or incomplete projects" - "Archival art...underscores the nature of all archival materials as found yet constructed, factual yet fictive, public yet private"

Hal Foster, 'In Praise of Actuality'

- "art museums have restaged many performances...not quite live, not quite dead, these reenactments have introduced a zombie time" - the reenactments have a "hybrid temporality, neither present not past...both real and unreal, documentary and fictive" - the institutionalization of performance is both positive and negative: Positive because it "recovers lost events" and Negative because "the zombie time of reenacted performances complicates matters...they don't seem actual"

Claire Bishop, 'Delegated Performance'

- "social turn' in contemporary art since the 1990s has been the hiring of nonprofessionals to do the performances...This is in sharp contrast to a tradition of performance from the late 1960s and early 1970s in which work is undertaken by the artists themselves...Marina Abramovic" - "Nowadays this presence is no longer attached to the single performer but instead to the collective body of a social group...This is a delegated performance"

Terry Smith, 'What is Contemporary Art?'

- 'modern' and 'contemporary' both evoke a set of contra-concepts and allied concepts - "Contemporary art has come...to replace modernism and postmodernism...it is the new Modern art" - With Baudelaire's 1863 essay 'The Painter of Modern Life' "Modernity...stands in contrasting connection to the slower...permanent values of classicism, history and heritage."

Julian Rossenhelt, Manifesto, 2015

- 13 different screens - 13 different protagonists but is performed by 13 different characters - The text she was speaking was a mashup of artist manifestos (i.e. dadaists, kandinsky, etc.) - and then he placed the notions of these manifestos in a contemporary context - so there was a misfit of the way artists were revolting the avantgarde - Narratives follow same kind of structure - i.e. close up to overview of situation - central to the work is that every screen takes 13 minutes and 10 minutes are where all the characters sync in some way - The way we see this installation however is similar to the way we view film (sit down)

INTERMEDIALITY EXAMPLE: Photorealistic Painting

- A kind of painting which inevitably evokes in the viewer the impression of a photographic quality - Another medium is brought into play in an indirect way - The media borders cross over moment in the case of intermedial references therefore does not affect the material manifestation of various media within a given medial configuration but rather the specific quality of the reference itself - the media borders cross over moment in the case of intermedial references therefore does not affect the material manifestation of various media within a given medial configuration but rather the specific quality of the reference itself - Emphasizing the notion of an 'idea' (Vorstellung) which the recipient associates with a given medium - so historical and discursive contexts of any defining characteristics attributed to a given medium

Hal Foster, 'In Praise of Actuality'

- Abramovic's 'Seven Easy Pieces' 2005 reenacted historical performances or Nauman and Beuys and Johanna Burton said it was "sophisticated holograms, both present and past, fact and fiction" - "Some reenactments are more interested in the camera than in the audience...as a result, we do not seem to exist in the same space-time as the event" - "Jeremy Deller - 'The Battle of Orgreave' 2001 - stated that 'I've always described reenactments as digging up a corpse and giving it a proper post-mortem...this was a recreation of the 1984 Yorkshire confrontation of police and miners...Deller states that the historical reenactment...puts the past into play again"

Joan Gibbons, 'Autobiography'

- Addresses the ways in which a number of artists have represented their histories and walked the often delicate path between the public and private spheres - Autobiography plays key role in western culture and has to come to represent a key issue of our time: relationship between the private and public spheres

Anne Ring Petersen, 'Towards a Definition'

- Artistic genres must not only be understood as institutionally defined typologies but also as historical traditions where the practical, work-related use of genres continuously shapes and changes the genre typologies. Installation itself is a product of a genre-developing process. - A "genre" is defined by the more or less freely employed conventions and rules used by its practitioners. A "medium" is defined by the possibilities and limitations set by the material substance and the mediums coding. Peterson states that it's easier to define installation as a means of expression 'with' rather than 'without' a genre terminology. - Wittgenstein: breaks with the idea that words can have only one meaning - arguing that these similarities have their root in the words being related on many different levels. His theory of family resemblance explains why artworks with highly different appearances can all be assembled under the generic term 'installation'. Family resemblance is to be found between objects in a group when each object is related to all of the other objects through a chain of similarities. Differences can emerge over time, or when genre is used in different historical or cultural contexts.

Joan Gibbons, 'Revisions'

- Artists who take political or social histories as their starting point, when analyzed becomes individual histories intertwining with the wider histories the author foregrounds. The relationship between the production of knowledge, discourse and art institutions is exemplified historically by the genre of history painting held as the highest form until Baudelaires championing of the painting of modern life and its realisation in the works of 19th century painters such as Manet. - Art would no longer always treat the path prescribed by the academy or conform to dominant social and political ideologies after the French Revolution. Romanticism is a cult for the individual and subjectivity and 19th century realism - so the social issues and inequalities. As for Realism such as Courbet paintings: its inauguration opened the way for numerous alternative and oppositional viewpoints and practices. However nowadays: institutions of art tolerate a plurality of approaches and standpoints often welcoming dissent from mainstream values and ideologies including the dissents from and challenges to previously dominant versions of history.

Joan Gibbons, 'Revisions'

- As sociologist La Capra states, memory is a crucial source for history - history provides a means by which memory can be critically tested. Most importantly, history and memory are in supplementary relation to one another, with history functioning as a form of memory that interprets and authenticates the testimonies of primary witnesses and sources - In sociology, memory is often a social activity or even means of socialisation, historical research or recall can in turn be seen as providing essential material not only through which memory can be figured more elaborately but upon which human understanding and relationships are modelled/formed. Judy Chicago, Dinner Party, 1979

Joan Gibbons, 'Autobiography'

- Autobiography is able to escape any accusation of intrusion into the private and carries the issue rather differently, especially when the limits and forms of autobiography are stretched or mutated in various ways. - Kahlo, Bourgeois, and Emin all have shared emphasis in the sort of experiences they reveal in public - the working through and coming to terms with personal trauma...More general preoccupation with pain and damage, which Gilmore perceives almost as a characteristic of the zeitgeist...Gilmore states it is trauma that is at the heart of the limit testing of self-representation and that it is at the negative limits of pain that radical forms of autobiography emerge AKA limit-testing autobiographical works not only juggle the relationship of the private to the public in a complex network of relational attitudes and circumstance, they do this specifically by opening their wounds to public probing

Marlene Dumas, 'Young Men' 2002

- Born and raised in Cape Town, South Africa (on August 3rd, 1953), Marlene Dumas grew up in the midst of the apartheid, a situation embodying cultural division. - She attended universities of fine arts in both Cape Town at first and then Amsterdam after moving there in 1976. Dumas specifies that her teachings were more philosophical in Cape Town with topics regarding ethical theories, whereas in Amsterdam she observed more visuals and paintings, learning to appreciate them. She states that these elements of her life have greatly influenced her works, from being "part of the wrong system" in the South African apartheid to her teachings in both Cape Town and Amsterdam. - Widely known for the "gestural quality.. of her oil and watercolor paintings" Dumas' works famously confront topics of daily life, politics and art through the depiction of human figures. The artist tackles the topics of sexuality, motherhood, gender, and pornography to topics of race, ethnicity and segregation. - Her works are artefacts of the contemporary world, taken directly from events of our time. Dumas stated herself that all her artworks were inspired by 'sources' such as her own Polaroid photographs, personal shots, or newspaper clippings and images taken from the media. - Her method of artistic creation is perfectly exemplified in her work entitled Young Men as it covers the topics of race and stereotype with the depiction of young mediterranean-looking men whom have in her view, been represented in a faulty way in the media. She invites her viewers to observe the individuality of each subject depicted and the uniqueness of each character. -Ring Petersen also draws attention to how artists' works are shaped through the material practice of moving and settling - and though we don't directly see evidence of her own immigration experience, Dumas's status as an immigrant has allowed her to sympathise with the continuous struggle of another migratory group (North Africans), ~ current migrant crisis in Europe and threat of terrorism makes it contextually relevant not just within the exhibition, but also for viewing by any individual in today's divided society

Anne Ring Petersen, 'Identity Politics'

- Discourse on cultural identity in 'the global art world' is informed by a very complex network of entangled, intersecting and antagonistic concepts that reflect the variety of agendas and positions articulated in this discourse - opposition with 'the west' and 'the rest' - Oppositions can easily be drawn from it (power/powerless; modern/indigenous etc), they continue to structure the critical assessments of the art institutional system. - Dichotomies and segregations have become deeply ingrained in the discourse on cultural identity in relation to contemporary art

Joan Gibbons, 'Revisions'

- Doris Salcedo (Colombian) Her works derives from personal memories of the dead and disappeared that she has collected 1st hand from the politically oppressed in colombia. She uses forms and materials that are allusive rather than explicit. Salcedo's sculptures contain parts or details that connect almost directly to the actuality that is behind the work. For example, her incorporation of clothing items like his shoes in 19992 'Atrabillarios' - grieving - Salcedo's recognition by the art world gives limited but nevertheless influential public exposure to the dead and the disappeared in Colombia....While Salcedo has found an approach that both fulfils her political mission and sits within the aesthetic requirements of the museum or gallery, some recognition has to be given to the changes in outlook in those institutions since the 80s and the willingness of many to embrace politically charged work and in some cases to actively support oppositional politics.

Joan Gibbons, 'Autobiography'

- Felix Gonzalez Torres has work emotionally low-key compared to Kahlo, Bourgeois + Emin; affected and informed by his own experience of HIV and AIDS which caused his partner's death and his own. He drew from minimalism, with it's formal placement in galleries and serial objects as components of the work. Torres also added particular forms of interactivity into the works, thus being participatory; reconfiguring the relationship of the private to the public. For example his 1987 art piece 'Perfect Lovers' - while anchoring it in his own relationship, Torres universalised the ideal of 2 perfect lover and deliberately so in order to eschew and even skew homophobic reactions. - The embeddedness of autobiographical practices in a larger cultural context found in Kahlo's work is again made obvious in Torres - his work operated allusively and subliminally more akin in this respect to that of Bourgeois.

Notion of Identity and Feminism

- Feminists discourse & art (1960s) - they oppose dominant perspective of the singular art world and the idea of 'masters' They pointed at the fact that in handbooks, and museums of modern art there were works presented which seemed to be an expression of a specific basis:art history itself was created by a specific group: mainly the western european white man - this group holds until the 1960s the dominant positions in this so called art world (i.e. most dealers, critics etc) - they took on assumptions that rules that are used in the art world: 'backgrounds of artists' are not relevant - not having to incorporate them when observing a work - 'White cube' - complete focus on the artworld itself and cutting off everything else - metaphor of museum walls - viewers were talked about as if they would be a disembodied person - where his social background had to be left out (feminists referred to this) - Art historian - Linda Nochlin - she payed attention to social and political issues in background of art works and - politics in vision - 1971 = she wrote an essay 'why has there been no great women artists' - she question in historiography - questioning the exclusion of women in participating in exhibitions and museums - social, cultural, and economic conditions made it difficult for women to become artists and make a career out of it - women were excluded from art academy - and if they were in the academy, they were not allowed to go to an anatomy class for example - she examined the exclusion practices in the art worlds throughout history - she opened up a feminist view of art history - examining the 'rules' of the art world itself - they did not want the background of the artist to be excluded, embracing the idea that identity and art are related to eachother

Eivind Rossaak, 'The Still/Moving Image'

- Focus of Rossaak is how viola uses slow motion to incorporate qualities and sensations deriving from the experience of early and high renaissance paintings, often religious paintings -the relationship between the cinematic motion and the stasis of a painted object is activated in the passions. A crucial element in creating this intimate connection to the pre-cinematic is the device of slow motion. - Bill Viola's Passion Series includes 20 short video pieces. They're usually exhibited in museums devoted to classical paintings. The spectator notices the contrast between the old medium of painting and new medium of video. Viola activates an aspect of this crisis through blurring of the difference between video and painting, this creates an confusion between two different media which viola uses aesthetically. - Super slow motion = upsets the standard spectatorial contract where the difference between the video and the painting is self-evident and where accordingly the spectator is active and the art object passive.

Installation

- Frequently used in the 20th century, but mostly in the context of display/exhibition 'to install' - In descriptions of the photographs of minimal artists you can find the term installation view and installation shots (so pictures of works of art within an installation space) - these terms were thus used in reference to works of minimal artists Installation as an art form was not used really as a term yet - Environment was used in the 50/60/70s used by artist Allan Kaprow (participatory art where the place u enter is the art) - It was only until the 1970s- now that environment as a terms was related to a specific period of time and specific artist (i.e. Allan Kaprow) - From the 70s onwards installation art is considered as a form of art - it was especially Rosalind Krauss (Greenberg was her tutor - purity of medium, so mixed art was not 'pure' in his view) who notes that it is a hybrid post-medium condition In the museum context they use the terms 'mixed media' or 'multimedia' - The term media installation refers to one medium is more dominant than others In the 90s installation art was very common, publications would deem it as 'mainstream' - Claire Bishop also wrote about the type of experiences installation art can evoke - which can enhance a dream state of the viewer, immersed in a dream environment or activated

Jeff Wall, A Sudden Gust of Wind (after Hokusai) 1993

- He assembled from numerous photographic elements that were digitally montaged. 'After HHokusai' has the look of movie stills or rather of the publicity shots taken on the sets of movies by professional photographers. The lightboxes illuminate the viewers and along with their size and their metal framing elicits comparisons with Minimalism, sought to give the viewer a bodily experience of proximity to its carefully scaled objects. Wall's subject matter is a reaction against the kitschy and suspect power of the snapshot that seizes some dramatic moment, everyday scenes, in which incident is downplayed or absent are elevated through enlargement to apparently epic significance. What the museum demanded of photography has been comparable to what it demanded of video -- inflation in size and insertion into installation, both pitched against the TV screen and the experience of mass media generally, seeking to assure viewers that what art works offer is unlike anything merely reproduced. - The photograph can be connected to Rajewsky model of medial transposition - because it goes from painting to photography and then inter-medial reference - because it references the specific work of Hokusai - through compositional elements and positioning of figures. Wall's use of lightboxes for his photographs can also connect to the notions of Rajewsky's model of intra-medial where conventions of film are combined with the use of light and maybe the ways of installation can be connected to the convention of paintings. The enlargement of work - usually in the 60s the photograph was standardized as small, but Jeff Wall enlarged them - and he references historical paintings - the medium conventions of historical painting installations - this was rare - it's a subsystem reference.

Ilya Kabakov's definition of Total Installation

- He describes it as an artform 'filled space installation' . Within the environment the viewer is immersed in a situation which is presented by him, and to complete that immersion he believes the outside world must be eliminated in the installation like no windows - you have to have a certain mindset when entering - It's basically an environment that is created and Kabakov says it is necessary that it is always presented in a high art context, ergo not a public space so that a specific context is constructed because he uses alot of materials which some may consider as 'poor' material such as garbage, bags, shoes etc. so in order for the viewer to consider it as art you need an art context which it is being presented in

Julian Stallabrass, 'Museum Photography'

- He questions what the museum is doing to photography, how it has been framed conceptually and what are its viewers encouraged to think about? - Jeff Wall is best known for his large lightbox transparencies and technique of backlighting. These huge, illusionistic photographs of apparently everyday contemporary scenes are highly readable every element is clearly identifiable and their combination suggests a narrative. Jeff Wall uses large format cameras to make big pictures that will withstand examination. His work offers a distinct combination of worldview, style, technical skills and manufactured objects.

Anne Ring Petersen, 'Identity Politics'

- In recent years at least half of the participants have non western background, an increasing number of artists live and work in non western parts of the world. Institutional foundations of artistic practices (academies, art schools, galleries, museum, biennales, dealers, buyers, collectors etc) have spread across the globe. - Petersen proposes that in order to transcend the negative effects of institutional multiculturalism in the artworld we do not need more identity politics but rather an approach that focuses on the real differences and hierarchies that determine the careers of contemporary artists as well as the reception of their works and the cultural identity they are presumed to embody

Irina O. Rajewsky's Definition of Intermediality

- In the broadest sense, intermediality refers to relations between media, to medial interactions and interferences - the crossing of media borders has been defined as a foregrounding category of intermediality

Anne Ring Petersen, 'Towards a Definition'

- Installation art as a genre is constituted by 3 parameters that are not to do with the artwork as autonomous object with certain formal attributes but with the relations between the artwork and that which is outside the artwork (since the 60s).

Anne Ring Petersen, 'Towards a Definition'

- Installations can best be understood as passage works. Petersen refers to Benjamin's regarding arcades as passages that could be experienced as both objective phenomena and something dreamt at the time - which he called Passagen Werk where the intention is to "evoke history in order to awaken its readers from it." - Subtle transitions between the physical, aesthetically organized space constituted by an installation and the reflecting, sensing viewer who moves through it. These transitions regard the relationship between subject and object, structure and movement and space and ritual. - Krauss investigated how since the end of the 19th century sculptors have tried to solve the problem of defining what a sculpture is. A new realisation spread among artists: sculpture is a medium pacularily located at the juncture between stillness and motion, time arrested and time passing.

Anne Ring Petersen's idea on defining Installation

- Instead of seeing installation as a self-sufficient aesthetic object one must look at its relations to other phenomena and circumstances outside itself such as external circumstances.

Anne Ring Petersen, 'Identity Politics'

- Institutional multiculturalism is a regulatory instrument appropriated and deployed by the west to continue its cultural hegemony → it segregates white artists from non-white artists by categorizing art by the latter as 'ethnic art' - Identity politics of institutional multiculturalism is a severe obstacle to 'true' artistic recognition because it perpetuates a hierarchy in which western artists obtain recognition on the basis of their individual artistic merits whereas non-western artists are only recognized as representatives of the ethnic community and local culture to which they or their ancestors belong

Bill Viola's 'The Quintet of the Astonished' 2000

- It highlights the complexity of relations between mobility and immobility and portrays 5 people who suffer the agonies of strong emotion but also highlights the fact that they are mediated bodies with no sound. The slow motion underscores and becomes part of this gesture of defiance or withdrawal form an ordinary life-world, slow motion also enhances their tiniest gestures to abnormal proportions. Principle of these desynchronized gazes seem to be borrowed from the compositional logic of the religious group painting from the early renaissance. - It creates a temporal dynamic in the painting like Eisenstein's theory of montage because the painting produces a sensation of time passing by chopping up of temporal intervals or by placing of the figures in slightly different time zones. The "maximum of emotion" is attained by a "juxtaposition" of different elements or images. Violas montage principle is borrowed from the compositional logic of the early renaissance paintings.

Julian Stallabrass, 'Museum Photography'

- Jeff Wohl as a photographer wants to go beyond the documentary status of it but create a narrative through it by re-constructing fact, constructing events, and sometimes taking a photograph of a fictional event. He questions the medium of photography - ignoring the borders between the art disciplines, also within the institutional concepts of it. - Rosalind Krauss: argues that Wall in his use of the lightbox invented an artistic medium but never took it seriously and that to do so would have been difficult since it is so singular and lacks and aesthetic history. - An interrogation of medium is necessary to artistic seriousness - this view has led Krauss and others to adopt a hostile attitude to large swathes of contemporary art because the concept of medium-specificity and critical self reflection on it cannot easily be applied to such works. The lightbox counts as a medium rather than merely being one way of displaying photographic positives which do have a history going back to the invention of the Autochrome at the beginning of the last century.

Anne Ring Petersen, 'Towards a Definition'

- Krauss' concept of passage: "the experience of a moment-to-moment passage through space and time - the passage is bodily, epistemological and temporal movement through a structure - Krauss concept of passage does not refer to the artwork as object but to the experience of the viewer. The word passage has never had as much impact as the word installation. - 'Passage work' 1993 is a group show at the rooseum exhibition in Sweden with artworks that valued bodily over intellectual experience - Petersen speaks in line with Krauss, uses the term passage work about the actual, temporal movement of the viewer's body through the artwork's physical structure. She uses will use the term passage work with reference to the function of installations as links between and communicators of passages on many different levels.

Joan Gibbons, 'Autobiography'

- Louise Bourgeois displays the function of memory not only to recall, reconstitute or reconcile the past but also to construct and represent the present. For example in her her cathartic 1998 book 'Destruction of the Father' where she exorcised childhood memories and fears. This also connects to Freud's Nachträglichkeit: that which had been repressed resurfaced at an appropriate moment - at a time when revision and reconstitution of the experience could be safely and expediently revived as part of a process of healing in order to strengthen Bourgeois's sense of self in the present - Art is the medium through which she comes to terms with and transcends a painful and imperfect past, and memory is the thematic basis of her sculptures and installations. Alongside the management of the present through the past and vice versa (central to Nachträglichkeit), the decontextualization and recontextualization of materials and objects in these works clearly harks back to Dada and Surrealist strategies whereby additional and unplanned associations are generated by new juxtapositions.

Mediality

- Media is also seen as a transport model, carrier of information and representations - it can have different functions (i.e. paint or storage like film) There is a distinction for a medium as a expansion (Marshall McLuhan - he says media is an extension of man) or as a channel for storgate (photography or film) or as a carrier of info or representation. - In media theory you can approach it from different sides and elements. 1) technology and materials of one aspect of the medium itself. 2) the social structure in which the media is experienced and 3) through the signs/system.

Irina O. Rajewsky, 'Border Talks'

- Medial differences and the notion of media borders play a crucial and extremely productive role in the context of intermedial practices. The effect potential of intermedial practices is always in some way based on medial borders and differences. The borders or 'border zones' between media can thus be understood as enabling structures, as spaces in which we can test and experiment with a plethora of different strategies.

Doug Aitken's 1999 'Electric Earth'

- Multispace installation - so it uses and constructs itself multiple spaces which is done in an architectural setting (i.e. wall and space construction, a transparent wall) - He created 4 different rooms - When you enter a room you meet a protagonist - i.e. someone sitting on a sofa watching television and then in another room he is doing another activity in the future - so it's different from the film because the beginning of the film is re-experienced at the end of the installation (this is done through the choice of architecture of transparent walls) "A lot of times I dance so fast that I become what's around me" - the only sentence the protagonist says - Cinema has a restriction of time, but in this work we have the choice (an exploratory time) - another kind of viewing world (intermedial element of using the conventions of visual arts to view the contexts of film)

Eivind Rossaak, 'The Still/Moving Image'

- Passions of jesus christ (subject with long history in EU art and religious life) + One of the most popular subjects in early cinema (stories and tableaux from the life of jesus many in the audience already knew). High fidelity color saturations of moving images: they allude even stronger to earlier religious paintings - the title alludes to the equally long secular tradition of presentation of emotions in the arts and academic studies.

Irina O. Rajewsky's Models

- Rajewsky says that when she looks at art she wants to have an analytical tool to explore that art work - she names it "individual media productions" Media transposition is where an art work is transferred into another medium - such as a book to film - this encompasses part of the extracompositional mediality category. Media combination is where there is more than one medium in one work present in material form - this is part of the intracompositional mediality category. Intra-medial reference refers to other medium - it is a sub system reference. Inter-medial reference refers to a specific work/object/individual and is part of the medial sub-system genre.

Installation

- Recent publications try to not focus on one of the element of installation art but try and make a more complete picture of what installation art could be - trying to make a theoretical approach (Faye Ran) - Arnason definition of installation art: "specially constructed environments designed to provoke a particular aesthetic sensation or to excite awareness of a specific idea or problem" - Bishop definition of installation art: the space and ensemble of elements within it are regarded in their entirety as a singular entity...it creates a situation where the viewer physically enters and insist that you regard this as a singular totality...as a literal presence in the space.." (so the presence of the viewer is also considered as a work of art) "embodied viewer" - using all your senses

Eivind Rossaak, 'The Still/Moving Image'

- Refers to Walter Benjamin on how film is the ultimate art of and for the modern masses, which destroys the aura, and implicitly criticizes originality with it's technologically mediated image of the world - the movie camera dissects the world, in sum: the new art of moving images destroys aura through shock, distraction, montage and a new form of hard core realism. This is contrasted by 'the Passions' 2000 by Bill Viola uses the technical medium of film to restore the aura, cinema of spirituality and not realism through ultra slow motion.

Joan Gibbons, 'Autobiography'

- Rembrandt's portraits brought psychological depth to his self-imaging...The paintings are indicative of how Rembrandt wanted to portray himself at a given time, in some cases to aid his pursuit of fortune/to support his fame. - In terms of memory/memorialisation Rembrandt provides documents of himself that are autobiographical but they are constructed in the present tense and most often bear distant relationship to his actual circumstances and life events + work more at the level of commemoration

Giselle Beiguelman, 'Corrupted Memories'

- Rosangela Renno...The Last Picture (2006)...in this work the whole history of photography and its relationship with the contemporary tourist industry are questioned, along with its tendency to privatise the landscape...Renno invited 43 professional photographers to photograph the monument of Christ the Redeemer in Rio de Janeiro, using mechanical cameras of different formats that she had collected over several years. The project...consists of 43 diptychs, each pairing the cameras with the last photo that they registered...raised a disturbing question: are these cameras capable of storing the history of photography that the digitalisation of images has changed the direction of?

Eivind Rossaak, 'The Still/Moving Image'

- Rossaak investigates the practical: such as exhibition spaces, the aesthetical: or confusions of media and the philosophical with Henri Bergson's theory of attention and consequences of this relational play for the spectator. Rossaak also looks more specifically at how the passions evoke the holy image. - During the 60s video art became important in linking the body and the self - it became a medium between several art practices, so different trends came to be in video art. 1) a Medium Specific Trajectory, 2) a TV Art Trajectory... 1 and 2 are seen in the beginning of Bill Viola's career but after the mid 1990s Viola started using techniques from the film industry to create a new type of "high definition moving frescos" for art galleries and museums. He used a church as an exhibition place for 'The Messenger' 1996 - during this phase he becomes a cinematographer, using high speed cameras and 35mm film stock - his short, non-narrative, experimental piece runs in a loop in a gallery while pushing video art towards filmmaking with actors, complex lighting and mise-en-scene.

Eivind Rossaak, 'The Still/Moving Image'

- Rossaak refers to Henri Bergson's Attentive Recognition - the theory about how deeper forms of attention extend perception into other regions. - According to Bergson: the experience of the world or an art object is the result of an affective tension between 2 dimensions: 1) Actual perceptions and 2) Memories...thus the perception of time is conflicted - Boris groys wrote about what happens when new media art enters art museums, he focuses on the transformation of the source of light when new media enters the museum...1) Viola's 'the passions' still keeps traditional presentational techniques intact, he doesn't require the lights in the museum to be completely shut down, they could only be slightly dimmed, 2) the size of the LCD frames resemble those of master paintings and smaller icons, and 3) the LCD screens are hung in ways resembling paintings in a museum

Elmgreen & Dragset's 2011 'The One & The Many'

- Special created for the submarine hole where submarines were created in the 60s and 70s - There were used people or dolls (not sure) which lay around - there was an apartment - it was kind of an empty space but there were viewers but you were also not sure if they were viewers or part of the art installation - you enter also a staged like mise - en - scene situation where you were not sure if people was a performer or a viewer (so unclear) - ergo, lots of staged like situations and performative elements, unclear beginnings endings etc. This is a performative situation

Ilya Kabakov's 1987 'Ten Characters'

- The Man Who Flew Into Space From His Apartment, 1986- one of the characters who lived in this apartment building, one out of 10 - and this one however has contact to the outside world - space, escapism - but you can't really enter the room, you can only look into it... it was blocked first by police tape but later the room was blocked by wooden panels where police documents were tapped on it which discussed missing persons statements - Narrative can be constructed whilst going through the 10 rooms - thus you can create multiple narratives where the viewer can choose their path (i.e. hypertext notion) - so your mindset is created by the artist - There is a mechanism of double action - of being both a victim of the spatial and narrative structure and a viewer who reflects on his current situation (more critical context) who searches for spatial structures where... the viewer can both reflect and be in the 'here and now' - an aim of his total installation

Intermediality

- The definition has its peak in academic discourse in the 90s, especially in Germany. - The Intermedial concept is used in varying scholarly fields such as literature, media studies, and art history recently - using the theoretical definition to study works of art - but in art history there are many terms for intermediality, thus its not used as often in an art historical study - It's a sort of umbrella term - such as adaptation, intertextuality, crossing media borders - they all have something happening between two different media - in between / zwischen bilder - Kattenbelt states that: "intermediality assumes an in-between space from which or within a mutual aspect takes place" - Rajewsky states "Each time intermediality is associated with different attributed and delimitations" - this can lead to vagueing or confusion of the term

Stan Douglas Interregnum exhibition 2017

- The exhibition Interregnum brings together three recent works by Stan Douglas, all dealing with the same historical period, in which different aspirations of universalist and multicultural transformation of the world order emerge. - In this work one single medium is present, and some people say that there cannot be intermediality but Rajewsky disagrees (you can refer to works of art in another medium) - The photowork of Douglas is never alone, his ideas of his still image in relation to film shows that he believes that the still image in a film is always present in a certain kind of context - he refers to how a film being simply a bunch of still images together. He questions the documentary notion of photography. - Douglas refers his photographs to past events - he goes back to a specific situation - such as crowds and riots in vancouver in the 30s, he tries to research seeing how riots are represented in mass media - in the reconstruction. He also incorporates cinematographic elements, hiring actors and props. Photography and media is both represented in Douglas's work - where the material is photography but he incorporates filmic characteristics in his work.

Irina O. Rajewsky, 'Border Talks'

- The fact that theatre is able to integrate various medial forms of articulation + to present them on stage is made possible precisely by the medial conditions and the fundamentally plurimedia structure of this medium - Theatre is still conventionally perceived as a distinct individual medium that is medially based with conventional borders - Medial borders and medial specificities are of crucial importance, such as the specific way in which medial differences, borders and the crossing of borders come into play in a given medial configuration. It concerns the historical processes of development and differentiation of so-called individual media. - To speak of "a medium" or of "individual media" ultimately refers to a theoretical construct a " theoretical abstraction" (Abstraktionsleistung) as Sybille Krämer calls it

Irina O. Rajewsky, 'Border Talks'

- The functioning of intermedial configurations is always based on relations between media or 'medialities' that are conventionally perceived as distinct (aka it is based on the possibility of calling up specific medially bound frames in the recipient - In the case of INTRAmedial references the referencing itself remains within on medium and consequently does not involve any kind of medial difference ... In the case of INTERmedial references a medial difference does come into play, a medial difference that cannot be effaced.

Anne Ring Petersen, 'Identity Politics'

- The power relations of the art world are much too complex to be captured by binary thinking. There are several cores, many semi-peripheries, numerous local peripheries. - The critical discourse on the divisiveness of institutional multiculturalism uses a strategy of articulation that is based on binary thinking and the very same mechanisms of exclusion that it criticizes. There is NO such thing as global art due to a work of art always received and interpreted locally even when it circulates in the international exhibition system.

'The Weather Project' 2003 Olafur Eliasson

- This site-specific installation employed a semi-circular screen, a ceiling of mirrors, and artificial mist to create the illusion of a sun. The whole sun only came to life when being watched - it was the product of viewers reflections and sensory perception - reminding of paintings such as Turner's or Monet's. It's obvious that its constructed, the installation brought out the audience curiosity, desiring to find out how the illusion was created. - Peterson talks of how the installation becomes an installation the moment these objects fashion a space where light and atmosphere work together with the architecture. It is a "slow" artwork that extended the experience in time, making it dependent on audience involvement.

Joan Gibbons, 'Autobiography'

- Tracey Emin and her autobiographically based works tend to cut to the quick and are largely characterized by their directness. She makes both her sufferings and pleasures directly accessible so that in contrast to the shared psychical engagement demanded by bourgeois' installations, the control and ownership of the memories and feelings that Emin makes public lies clearly with the artist, not the viewer. The self-absorption of Emin's work can be seen as mean by which she copes post-traumatically with the cruelties and abuses of her life (this is shared with Kahlo+Bourgeois). - Her choice of medium is an important factor in the way that the works are read.

Joan Gibbons, 'Autobiography'

- Van Gogh's paintings reflect he actualities of his life far more directly and construct an autobiography based more closely on his life circumstances - Van gogh's often painful baring of both life and soul makes the private public and paves the way for the confessional practices associated with the autobiographical art of the late 20th and early 21st centuries - Frida Kahlo conflates autobiographical symbolism with cultural symbolism in a way that again sets particular terms for the 'memory work''

Julian Stallabrass, 'Museum Photography'

- Wall used to be happier to point to sources for his work in film, tv and advertising and commercial display. These days, the artist does not want viewers to think about anything other than high art. - Object he is most known for using are lightboxes: large, expensive, manufactured objects, necessary to the development of wall's evolution of a signature style as an exceptional, individualistic artist and that they are used to control and restrict the display of his images.

Black Mirror, Doug Aitken, 2011

- Was performative and also installation - Not distinguishable because the artists state that it is the same artwork but simply evolving in time (so first it was a performative theater like staged performance and then later it was an installation with screens)

Drawing for 'Other Faces' (Woman with head covered), 2011, Charcoal and colored pencil on paper.

- William Kentridge's work presents the medium film, questioning the conventions of the medium itself. - His drawing represents the media of film, such as a film strip and focal points of a modern camera. He has no focus on one medium, he incorporates theater, film and drawing (thus calls himself an artist) - he crosses multiple media. - The process of drawing is always visible in the film itself - there are visible traces of these two media in one another - the drawing is however so central in his way of working, thus there is an interrelation between the two media. In "other faces" - there is a reference to Muybridge, the study of birds, you see the sliding of paper on the side of the frame, political situation of the events in South Africa - he does not start with a fixed narrative because he wants to be open from the process itself through chance, failure where narrative is presented through the working process

Joan Gibbons, 'Revisions'

- Yinka Nibare MBE a Nigerian in Britain - tests the extent to which memory and history have to rely on the specifics of the past in order to historicise and form counter-memories. Black artists have a history of production in the west following world war II that related directly to western modernism but lacked the recognition given to the work of european and north american modernists. The fact that black artists were perceived as a homogenous representative group had let to a form of crisis and poverty and the time had come to recognize and build upon the diversity and multiplicity of practice in black art. In the early 90s a call for less singular and less confrontational approach had been heard - the result being a more complex engagement with issues of black identity and postcolonial history that has found its place in the competitive world of contemporary art.

Matthew Buckingham's 3 recurrent devices which constitutes 'his language' as stated by Mark Godfrey

1. "the use in each work of two distinct elements...image and text" For example, Buckingham's Detour, 2002 2. "internal fracturing within each part...each element is itself divided" 3. "his installation methods...For example a film comprises two rooms with a projector sending the image form the divide between the rooms onto a far room, so that the film is only visible in one space" This can be seen in Buckinghan's Situation Leading to a Story, 1999 - his projectors are never hidden

Hal Foster's 3 Forms of Archive

1. ARCHIVE AS CAPITALIST GARBAGE BUCKET: Hischhorn 'ramification' - he produces interventions in 'public space' that questions how this category might still function today, such as direct sculptures, altars, kiosks and monuments. Boltanski's quasi-archival and quasi-archaeological works that question the power of archive sits and its construction of memory. 2. ARCHIVE AS FAILED FUTURISTIC VISION: Dean 'collection' - her archival work is an allegory of archival work, sometimes melancholic, often vertiginous, always incomplete. For example 'Time Readymades' slowmo Psycho by Douglas Gordon (mentioned by Foster). 2. ARCHIVE AS PARTIALLY BURIED WOODSHED: Durant 'combination' - employs a vast amount of means and medium such as drawing, photos, collages, sculptures, sound, video. He presents his archival material as active and unstable. He discusses the 'two moments' of approaching art. First: seems distant, and Second: discourse occurs and connects to beginning thought.

Anne Ring Petersen's 2 opposing developments in the 80s

1. Critical debate on the institutional policies and attitudes towards artists of non-western origin, which accused the system of institutional racism 2. Multicultural policies were gradually adopted by art institutions and in curatorial practices

Anne Ring Petersen's 3 issues of Concern in Institutional Multiculturalism

1. Deconstruction in the form of a critical analysis of Western art institutions + art history with a view to disclosing their ethnocentric and racist structures and practices - this articulates a demand for revolutionary changes in the practices and structures of the Western art institutions from a position in postcolonial theory and multicultural identity politics 2. A call for a greater focus on art as significant in itself, not just as a vehicle for identity politics or for cultural and anthropological concerns - this evokes a fundamentally western ideal of autonomous art, the political demand to recognize the cultural identities of non-western artists and the aesthetic demand to recognize the autonomy of their art often intersect in conflicting and contradictory ways in the discourse on cultural identity and New Internationalism 3. An emphasis on cultural difference as inherently complex and valuable

2 Elements that are always present in Installation Art

1. Dialog between the artist and the space - the assemblage objects / spatial experience - the filled space: a whole and no relationship between installation and space in which it is presented (total installation) - the site specific which refer to specific sites where the work is also created. 2. Experience and incorporation of the viewer - the presence an walking around as a viewer is part of the artform - embodied viewer (Bishop)

5 Distinctive Features of Jeff Wall's works

1. Epic scale 2. Staged incident 3. It's relation to painting in his exploration of pictorial genre and the reworkings of traditional pictures in photography 4. Character of Wall's photographic manipulations - he used to stitch photographs together to produce unified, naturalistic scenes that disavowed the technologies that had made them. 5. Wall's insistent warfare against photography's mechanical reproduction - he only has a certain amount of lightboxes, small editions; the restriction of supply may be to insist on the object as opposed to the image status of the works - it has an effect on the way the work is viewed where it can only be seen at one place at a time.

Terry Smith's 3 approaches to defining 'Contemporary Art'

1. INSTITUTIONAL: observing the art network such as galleries, magazines, websites. 2. PHILOSOPHICAL: focus is on culture, identity, and the self; the spirit of the contemporary. 3. STYLISTIC: a formal and art historical focus, where artists should focus on the ideas of representation.

Anne Ring Petersen's 3 Parameters of Installation art as a Genre

1. Installations activate space and context, where an interplay with and in the space is organized for that very space. It occupies the viewers entire field of vision. "Ambient perspective" (Nikos Papastergiadis): refers to the phenomenon that we rarely look at the world from a single position in space but tend to perceive things "as we are passing through them". Installation represents a rethinking of autonomy as it rejects the traditional, objectivist ideas of artistic autonomy. Installation art together with site specific art contributed to this development by bringing 3D artworks into more complex relationships with architecture, landscape and art institutions. 2. Installations stretch the work in time whereby its character becomes that of situation and process. Installation time can be both short and long. Short because installations are often created for a specific exhibition and subsequently destroyed. Long because an installation is structured as a space with many separate parts which requires the viewer to spend time moving around in it, looking at it from changing points of view and distances. the temporal nature of its spatial dramaturgy that in combination with the situative nature of the experience of the artwork brings installation art close to theatre - specifically performance theatre - and as regards the subcategory video installation close to the movie theatre. 3. Installations have phenomenological focus on the viewers bodily and subjective experience and on the temporal aspects of reception. The audience stands and walks often has a double function as the space of the work as well as that of the viewer. This differs from sculpture & painting where the space of the work is separated from the space of the viewer, usually separated through frame or pedestal. Installations encourage the viewers to move their bodies.

Anne Ring Petersen's Limits of Installation

1. Installations that only just meet the minimum requirements for being called such... For example, Rudolf Stingel's 'Untitled' installation in 1996 where an orange wall to wall carpet that covered the entire floor of the exhibition room was placed, but the ambiance gave a feeling that the artwork creates a space that surrounds the viewer almost non existent. Thus being unclear. 2. Projects that should not be called installations but also/mainly something else like an exhibition or event. For example, Thomas Hirschhorn's 'Bataille Monument' in 2002 which transgresses limits of installation by involving local residents in a number of activities, confusing the viewers.

Irina O. Rajewsky's Subcategories of Intermediality

1. Intermediality in the narrower sense of medial transposition (Medienwechsel) also referred to as medial transformation as for example film adaptations of literary texts, novelizations etc. 2. Intermediality in the narrower sense of media combination (Medienkombintion) which includes phenomena such as opera, film, theatre, illuminated manuscripts, computer or Sound Art installations, comics, to use other terminology, so-called multimedia, mixed-media and intermedia forms. 3. Intermediality in the narrower sense of intermedial references (intermediate Bezüge), references in a literary text to a specific film, film genre or film qua medium (so-called filmic writing) likewise references in a film to painting or in a painting to photography etc. Issue = direct or indirect participation of medium?

Mark Godfrey's 6 Strands of Historical Representation

1. LOCATION "films portray locations touched by past events and particularly by calamities" 2. USE OF ARCHIVES "projects that deploy photographs and films discovered after directed searches in archives...to indicate the histories recorded in the images, while at the same time acknowledging the fallibility of the archive and the inscrutability of discovered images" 3. BIOGRAPHY "artists address history through the contingencies of their biography, including their own narratives in the work" such as Anri Sala's 'Intervista' 1998 -from his home in Tirana and studying in paris to discussing the communist era 4. FICTION - use of fiction ot create narratives based on historical events 5. ART ITSELF - using explicit references of works to art in another art work 6. PERFORMANCE - the historical turn in performance based art

The 3 Phenomena of Intermediality

1. Medial transposition 2. Media combination 3. Intermedial references such as jeff wohl or bill viola and the reference of the history of painting

3 Types of Installation

1. Mixed Media Installation. For example, Ilya Kabakov's 1987 'Ten Characters' 2. Cinematographic Installation. For example, Doug Aitken's 1999 'Electric Earth' 3. Performative Installation. For example, Elmgreen & Dragset's 2011 'The One & The Many'

Joan Gibbons's 2 dominant Approaches of Frida Kahlo

1. One which abides by the conventional format of the mirrored image (head and shoulders or full-length) with personal attributes that often allude to the larger socio-political context that she inhabits: For example, Frida Kahlo's 1939 'The Two Fridas' 2. One in which she illustrates/stages key moments in her life in a mise-en-scene of some sort - Interweaving of personal memory with religion and myth not only allows for hindsight but also generates insight into the interweaving of personal memory within larger cultural schemes - Kahlo rejects any conventional image of mother and child, allowing Kahlo to rethink her identity as a woman - My Birth, 1932: the practice of self-portraiture shifts in a way that is to prefigure later approaches to autobiography in contemporary art and the ways in which it functions as memory. This connects to the notion of Nachträglichkeit: Nachträglichkeit is a psychical process mentioned by Freud, whereby an original experience is reconstituted, re-transcribed or rearranged in relation to ongoing circumstances - not to replay the experience but to gather new meaning and endow it with a psychical effectiveness that has been lost by the repression of the experience

Anne Ring Petersen 2 Recipient Groups

1. Ordinary audience 2. Commentators, so professionals in installation discourse

3 Different strategies artist use to address History

1. REENACTMENT: of an event, often historical 2. RECONSTRUCTION: of a specific cite or place that once was 3. REPERFORMANCE: referring to a performance art itself

Irina O. Rajewsky's Critique on the Intermediality concept

1. The concept is scrutinized for widely ignoring the constructed character of any conception of 'a medium' and of any reference to 'individual media' (Einzelmedien). 2. The assumption of medial delimitations and the criterion of a medial border crossing are called into question by referring to various kinds of performances or artistic 'events' of the past decade that manifest "a still growing tendency towards an annulment, a dissolution of the boundaries between different art forms.

Anne Ring Petersen idea on what needs to be changed

1. To disentangle the understanding of the 'cultural identity' of individual artists from the emphasis on national and ethnic identities at work in the current political discourses in the west and in institutional multiculturalism 2. To avoid the 'biographical' pitfall of regarding the artist's life story as the essential content of the artist's work - the master narrative that generates all the other possible interpretations and contextualization of the work, which are treated as minor pieces of the master narrative. 3. We need to put more emphasis on 'identification' as a process - as a performative act of representation that the artist's ethnic and cultural identity is the prime source of the work's meaning.

Claire Bishop's definition of a Delegated Performance

A 'delegated performance': is the act of hiring nonprofessionals or specialists in other fields to undertake the job of being present and performing at a particular time and...place on behalf of the artist...following his or her instructions" - This differs from cinematic or theatrical hiring

Kara Walker, Grub for Sharks: A Concession to the Negro Populace, 2004

Addresses colonial times, stereotypes of African Americans - refers to William Turner's work Slavers throwing overboard the dead and the dying - back in the day they threw overboard the slaves to keep the ship afloat - she wants to address and rewrite that type of history

RECONSTRUCTION EXAMPLE: Stan Douglas's 2014 'CIRCA 1948'

CIRCA 1948 is an interactive art project 2014 app of post-war Vancouver by Stan Douglas in collaboration with digital Vancouver - he was born and raised there - he's a well known photographer - in his works you see a mixture of reality and imagination and fact and fiction - you can find a mixture of film (mystery, drama) and historical elements - 2 elements: 1) interactive spatial installations and 2) an app that you can download - mise-en-scene Vancouver of where the city is recovering of ww2. The project unfolds in 2 actual historical sites one being the Hotel Vancouver with war veterans and 2) rogan's valley - you can explore these communities as if u would a open world environment. For all his work he uses historically based elements - he RECONSTRUCTS elements of the event - making use of archival material - large scale urban renewal project, displacement of black community that lived there - he collected personal stories of inhabitants that are still alive - film fragments, old radio fragments and - explorable virtual world, open world game environment - Douglas says it is not a game because there are no levels - he says he wants to reconstruct lost communities, give a sense of unwritten stories and explore and integrate it in his work - in the virtual work u can walk in personal rooms, but there are no other human presences, but when u click on objects u can hear slight conversations with each other about events that happened then - it's a narrative but there's no beginning or end - he gives a multiple historical narrative - also giving monologues of people who are addressing the debates on race, history, gentrification projects and what it does to society (both of past and today).

RECONSTRUCTION EXAMPLE: David Claerbout's 'Berlin Olympiastadion'

In 2016 David Claerbout's 'Berlin Olympiastadion' rebuilt Nazi regime building - after the war it was located in the british section of Germany - it is a reconstruction for the 2005 world cup - 'the political and historical past becomes omni-present' - there is also a digital recreation of the reconstruction with drawings of the building based on the very detailed research on documents - Nazi architect Speer designed the latter building and he wanted it to have the same stability and symbolism of the colosseum - Claerbout studies the ways of building ruins (i.e. plants) - he says he is constructing the German icon and he has to do it very precisely - he made a reconstruction of the building and the ground and removed the last renovation elements and restored it in his original form - so every stone and tree corresponds with the building of nowadays in Berlin - one exception - humans are not in the schedule of the reconstruction itself - he created an environment where the building is turned over to nature - the piece has a duration of thousands of years, but nature will take over the building itself - so if we have a climate change in real time - it will effect the building - digital creation also reflects the moving on the sun and trees and grass - the digital projection reflects the weather of Berlin in real-time - installations of it is in other places (i.e. Tilburg) - he makes a archival database of the development of the work - the VIRTUAL RECONSTRUCTION that is gonna fall down due to real-time weather and nature consequences - the building still exists - in the exhibition you can only see the stadium (not the real-time weather + growing plants) - started in 2016 - supposed to last around 1000 years

RECONSTRUCTION

Is of a specific cite, place or building with possible 'hidden' histories such as city scapes, lost neighborhoods, or lost archaeological sites. 1) the site itself is lost, thus destroyed or neglected. 2) the site is part of unwritten history that is still present. 3) the site can only be entered through documents, such as maps or photographs. For example, Stan Douglas's 'CIRCA 1948' is a reconstruction or David Claerbout's reconstruction of the 'Berlin Olympiastadion'

REENACTMENT

Is of an event, often historical - such as Jeremy Deller's Battle of Waterloo reenactment, where 800 reenactors (of 200 former miners) attended. Reenactments try to be accurate in these events, in location, clothing, formation. The access of history is done through immersion. Reenactemnets are not only constructed from documents but on personal stories of eye-witnesses as well. They want to question and explore history, critique the event and most importantly the constructed mediation of the event. This term is used as an umbrella term by Hal Foster.

REENACTMENT EXAMPLE: Jeremy Deller's 2001 'Battle of Orgreave'

Jeremy Deller, english artist - relatively recent - was a bitter confrontation between police and minors in England in 1984 - minor strikes spread throughout the country - 1984 the national union of mine workers went on strike - dispute lasted for a year - most bitterly fought since the 1920s - Deller reenacts the same village - the reenactment was based on his own memory - "it seemed a civil war was taking place" (Deller) - it was to critique how the media was covering the strike - it was covered by the BBC - and it was edited out of chronological sequence (only throwing stones) - this corresponded with the narrative of the police that the police had to use the horses for the attack - but the footage of other filmmaker (Mike Figgis) shows that the stone throwing was due to the police's first move - 800 reenactors (of 200 former miners) - BATTLE OF ORGREAVE - represented in documentary and installation by Deller (in their archive) - blurs boundaries of objective of representation of event or look at the documents of the bbc or to look at documents of Deller (so...2 different storylines) - he showed the 2 stories to show how history is different - his intention was to openly acknowledge that every event in history is impure and highly mediated and urged to be re-written - question: how do we construct our history? (personal histories, government argument)

Louise Bourgeois Spider, 1944

Joan Gibbons mentions her work as one of the artists who uses her personal experiences to her autobiography - the work forms the first entrance into the idea that autobiography and work itself could be in some cases really connected to each other (in Gibbons text) - she implements these personal meanings throughout her whole oeuvre - Gibbons states that the synthesis of the past and the present plays an important role of the work of Bourgeois - she points at the social way of working as well as the special iconography which she developed herself - she is considered as one of the most important artists of the 20th century - working in the void, developing her own themes, methods, iconography - born in France and moved to USA 1938, in contact with the avant-garde movements such as the surrealists (Duchamp, Ernst) - she is a one woman movement - relating to other movements, but taking her own position and exploration of themes, incorporating it into the work - in the 60s and 70s - her work was discovered by feminist art historians and critics, giving her large scale exhibitions - and from that time on her works are approached with a feminist and psychological perspective - embracing her art as feminist art (which is questionable) - but just recently some art historians ask to start to look at her works from another perspective other than the much used feminist one (asking maybe the formalist approach instead of searching for autobiographical perspective) - she however also approaches these feminist and psychoanalytic themes in interviews herself - she doesn't restrict herself to certain materials (varies throughout her sculptures) - obsessive continuation to references of her youth (autobiographical) - Bourgeois claims that "everything i do is inspired by my early life" - depicting needles and spiders a lot in her works

David Hammons, 'How Ya Like Me Now?' 1988 (notions of autobiography and identity)

Portrait on billboard life size metal cut out - Clear reference to well-known public figure - Jesse Jackson - he ran for presidency, in spite of drastic changes (aryan features) - in contrast to his actual african american features - implies topics of racism - they were experiencing the work as the first blunt piece of racism of first black man running for presidency - Hammons intention was to expose the racism of the public against the Jackson - Hammons is himself an African American influencing - the sledgehammers and american flag - always displayed indoors - touches upon identity of the viewer, and subject and artist - the works meaning was dependent on the situation and events of its time when it was created

REPERFORMANCE

Refers to a performance art itself, usually taking place in the context of the 90s, 60s, or 70s. Reperformance goes back to a performance of the past and it is reperformed by the same artist or another. There is always a relationship to the past performance with the new performance of the older and it relates to the documentation of the past performance. For example, in Marina Abramovic's exhibitions you can see the format of the re-performance and of the delegated performance. Abramovic analyzes how people would respond to the past performances with today's audience - she also wanted to act against the many performances of her own work - so she discusses how writers rip their works apart and take it out of context - she says it was her duty to put order in the mess of the many copies of her own work.

REPERFORMANCE EXAMPLE: Marina Abramovic's 2005 '7 Easy Pieces'

The exhibition 7 Easy Pieces took the whole day for a week, 7 hours, 7 days a week, she performed performances of other artists - i.e. Joseph Beuys reperformance - Abramovic said that there are certain conditions to go by when re-performing a past performance art piece... Firstly, you have consent and pay the original artist (like musicians) and Secondly, you have to create a detailed study of existing documentation and interpret the work and adopt it to your own techniques. The institutionalization of the artwork is important, coming up with a solution of gallery timings such as 8-9 hours a day ope making the exhibition take 10 months. Because of wanting to re-perform various performances where she is needed present - she allowed others to re-perform her works - she trained couples for months to perform the naked museum work - she performed this for 800 hours days after days.

Judy Chicago's 'The Dinner Party', 1974

Triangular shape theme, "sought to write forgotten women back into history...reclaim women from history or his story...a narrative that for millennia that have excluded women as historical subjects" - this work wanted to write and rewrite history (of both art and general history) - play on words 'his' story - pointing out that the stories written are of men by men - The Dinner Party is also a celebration of crafts of women as well as the celebration of the female body and sexuality - the meanings that are foregrounded (celebration of crafts - i.e. fabrics, and on female body) - are focussed on the stereotypes of women - so you see the celebration of women and all their different elements where femininity is implied - Judy Chicago tried to research unwritten history with assistants and scholars - of women that are not addressed in historical narratives - paralleling a large research project - unwritten histories are thus written by scholars - a large triangular table set for 39 people/women, 13 people on every side - the food refers to the last supper and how it is represented ages and ages in the history of art - she looked at the table setting and tried to remove the hierarchy (the middle being the central) - 39 ceramic plates created and every plate refers to a specific woman from either actual history or myths - such as a the primal goddess next to Virginia Woolf - the floor with 999 other female names - focus on one of the plates - George O'Keefe, one of the women present in the New York art scene, where she made an important contribution, where she took floral motifs and made abstractions as far as she could go - sensual and sexual connotation, an element which Judy Chicago alludes to in her works - Chicago tries to make a reference to the female genitals in a 3D art piece - referencing to the element of sewing and embroidery (lots referenced this during the 70s - 80s)