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From Margin to Center: The Spaces of Installation Art
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About From Margin To Center: The Spaces Of Installation Art
Product Description A study of installation art, from its marginalized beginnings in the late 1950s to its central position in today's art world. Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces; its assimilation into mainstream museums and galleries is a relatively recent phenomenon. The move of installation art from the margin to the center of the art world has had far-reaching effects on the works created and on museum practice. This is the first book-length study of installation art. Julie Reiss concentrates on some of the central figures in its emergence, including artists, critics, and curators. Her primary focus is installations created in New York City―which has a particularly rich history of installation art―beginning in the late 1950s. She takes us from Allan Kaprow's 1950s' environments to examples from minimalism, performance art, and process art to establish installation art's autonomy as well as its relationship to other movements. Recent years have seen a surge of interest in the effects of exhibition space, curatorial practice, and institutional context on the spectator. The history of installation art―of all art forms, one of the most defiant of formalist tenets―sheds considerable light on the issues raised by this shift of critical focus from isolated art works to art experienced in a particular context. Review Reiss has provided a clear narration of installation art's development; her argument is clear, well researched, and well argued.― Sculpture Review Reiss offers a lucid argument for rethinking 'installation art' and its challenge to the repressive and restrictive terms of the modernist art object. Her revisionism is a refreshing departure from the essentially formalist canon that continues to distort the meaning and implications of the radical aesthetics of the 1960s.― Maurice Berger, Senior Fellow, The Vera List Center for Art & Politics, New School for Social Research About the Author Julie H. Reiss is a New York City-based independent scholar and art historian.
