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    Video Installation Art: The Body, The Image, and The Space-in-Between

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    Anonymous qBWLnoqB
    This document discusses three video installation artists - James Turrell, Pepón Osorio, and Adrian Piper - and provides biographical information for each. It then summarizes key concepts from the text "Video Installation Art: The Body, The Image, and the Space-in-Between", including the ephemeral and temporary nature of installation art, the relationship between presentation and representation, how installation art can envelop viewers and utilize space, and issues around preserving and "museumizing" installation works. The document concludes by critiquing Walter Benjamin's ideas about art's "aura" and technological reproducibility from a post-colonial perspective.

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    Video Installation Art: The Body, The Image, and The Space-in-Between

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    Anonymous qBWLnoqB
    104 views14 pages
    This document discusses three video installation artists - James Turrell, Pepón Osorio, and Adrian Piper - and provides biographical information for each. It then summarizes key concepts from the text "Video Installation Art: The Body, The Image, and the Space-in-Between", including the ephemeral and temporary nature of installation art, the relationship between presentation and representation, how installation art can envelop viewers and utilize space, and issues around preserving and "museumizing" installation works. The document concludes by critiquing Walter Benjamin's ideas about art's "aura" and technological reproducibility from a post-colonial perspective.

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    VideoInstallationArt-2016

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    VideoInstallationArt-2016

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    This document discusses three video installation artists - James Turrell, Pepón Osorio, and Adrian Piper - and provides biographical information for each. It then summarizes key concepts from the text "Video Installation Art: The Body, The Image, and the Space-in-Between", including the ephemeral and temporary nature of installation art, the relationship between presentation and representation, how installation art can envelop viewers and utilize space, and issues around preserving and "museumizing" installation works. The document concludes by critiquing Walter Benjamin's ideas about art's "aura" and technological reproducibility from a post-colonial perspective.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    104 views14 pages

    Video Installation Art: The Body, The Image, and The Space-in-Between

    Uploaded by

    Anonymous qBWLnoqB
    This document discusses three video installation artists - James Turrell, Pepón Osorio, and Adrian Piper - and provides biographical information for each. It then summarizes key concepts from the text "Video Installation Art: The Body, The Image, and the Space-in-Between", including the ephemeral and temporary nature of installation art, the relationship between presentation and representation, how installation art can envelop viewers and utilize space, and issues around preserving and "museumizing" installation works. The document concludes by critiquing Walter Benjamin's ideas about art's "aura" and technological reproducibility from a post-colonial perspective.

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    Video Installation Art

    The Body, the Image, and the


    Space-in-Between

    James Turrel

    b. 1943 in Los Angeles

    Background in math, perception science and
    psychology

    Quaker/Christian spiritual basis

    h"p://www.pbs.org/art21/ar1sts/james-turrell

    Pepn Osorio

    b. 1955 in Santurce Puerto Rico

    Community based art practices in Philadelphia
    and New York

    Worked as a social worker in the Bronx

    h"p://www.pbs.org/art21/ar1sts/pepon-osorio

    Adrian Piper


    b. 1948 in New York City


    Training in analytical philosophy


    Cornered 1988 17min


    All you have to do, Piper argues, is to echo or depict
    those defensive categorizations as they are, without too
    much aesthetic or literary embellishment, in order to
    generate a certain degree of self-awareness of how
    inadequate and simplistic they are. Hal Foster, et al Art
    Since 1900: Vol 2

    1945 to the Present.

    Video Installation Art: The Body,


    The Image, and the Space-inBetween

    Ephemeral - 154

    Presentation vs. Representation 156, 158

    Envelopment of
    Viewer 161

    The Space-In-Between 163

    Museumization - 166

    Ephemeral - 154

    = lasting for a delimited time period in a particular
    space

    the visitor rather than the artist performs the
    piece (157) > watching other people experience
    the work is part of the work

    question of accessibility of installation art, since it is
    so temporary and site specific

    Presentation vs. Representation 156, 158



    Representational = viewer asked to experience
    work as signifying something else (not related to
    physical space)

    Presentational = viewer asked to engage and with
    and cocreate a performance in realtime and space

    not mutually exclusive coexist in some works

    cant transport/package/sell an installation

    Envelopment of
    Viewer 161

    Television imaginary conversation if it were
    video art, viewer would be aware of physical space
    and television set as object

    distinction between envelopment or immersion in
    the representation (distraction from surroundings)
    and envelopment in the apparatus (awareness of
    surroundings)

    (closely related to representation vs. presentation)

    The Space-In-Between 163



    while an installation can be described in 2D forms
    the space-in-between is always missing the ART
    is no longer present (154)

    space itself; space in between visitor and
    installation; space in between visitor and visitor;
    space you observe between other visitors and
    installation; space between artist and installation;
    space between artist and visitor?

    the space that needs to be filled (with what?) in
    order for the artwork to be what it is

    Museumization - 166

    two interpretations: installation art transforms the
    museum as cultural institution; installation art
    demonstrates newfound recognition of
    presentational forms within traditional ideas of the
    museum and art world

    questions around art as commodity

    Benjamins aura (redux)



    What is the politics of valorizing the death of
    artworks ritual/authentic quality? This seems deeply
    Eurocentric. For colonized cultures access to this
    function was forcibly taken away, so you cant say that
    technological reproducibility is inherently progress.
    (This critique might help us think about the
    importance of presence and aura in installation art,
    particularly for artists whose perspectives and
    experiences have been marginalized or
    decontextualized.)

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