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What has been loosely termed installation Art dominates the exhibition programmes of galleries worldwide. However, while it is much discussed it has rarely been clearly defined. In this book author Claire Bishop provides both a history and a full critical examination of installation art, in a survey of the form that is both thorough and accessible. Installation Art will provide, for the first time, a clear account of the rise of this now prevalent strand of contemporary art. While revising and, in some cases, re-assessing many well-known names in post-1960 art, it will also introduce the audience to a wider spectrum of younger artists yet to receive serious critical attention.
simultaneouslybe symbol and raw substance, achieving a status as paradigmatic objects. Materials which can carry this ambiguity range from matches to Coca-Cola bottles, from coins and banknotes to a broom, as in La Bruja (The Witch, 1979-8r). They are in the everyday world, close to their origin, yet impregnated with meaning. 57 MissiiolMissoes (How to Build Cathedrals) 1987, is perhaps typical of Meireles's use of repetitive and metaphorically laden materials: 600,000 coins arranged on the
predecessors). Unlike business, which offers experiences for profit, art institutions should, he argues, 'unveil the politics of experiential conditions ... [sol they do not submit to commodifying our senses using the same manipulative techniques as elsewhere'. In Eliasson's ambitious series of installations for Kunsthaus Bregenz in 2001, The Mediated Motion, he presented a different sensorial 'landscape' or environment on each of the museum's four storeys: a floor of mushrooms, a watery plane
would come to a head at the end of that decade: 'Girls should learn only about household matters', 'We should deport all refugees and give their jobs to veterans', 'There is only one way to do something properly'. Merleau-Ponty, 'The Child's Relations with Others', in Merleau-Ponty, The Primacy ofPerception, op.cit., pp.lor-s· 11 Robert Morris, 'Notes on Sculpture, Part 2', in Morris, Continuous Project Altered Daily, Cambridge, Mass, r995, p.I6. 12 Donald judd, Reviews, Arts Magazine, February
'992, P.243, note 18. Another important reference point for this shift can be found in Peter Burger's Theory ofthe Avantgarde(I974), in which a typology of artistic production is traced from the medieval period to the twentieth century. Burger argues that 'sacral art' of the middle ages, such as the cathedral, was produced collectively and received collectively; this was superseded by 'courtly art' of the Renaissance, which was produced by an individual artist but received collectively; this in
Surrealism) to blur 'art and life' - which for Burger is more accurately art and political praxis - is a key reference point for much of the work discussed in this chapter. 3 Beuys, 'Introduction' (r979), in Carin Kuoni (ed.), Energy Plan for the Western Man: Joseph Beuys in America, New York, r990, p.r9. 4 Beuys, 'We are the Revolution. A free and Democratic Socialism' (r2 April r972, Palazzo Taverna, Rome), reprinted in Lucrezia De Domizio Durini, The Felt HatJoseph Beuys-ALife Told, Milan,