What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.
Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.
I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.
Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
I have people working together, doing different things: architecture, art installation, photography, publishing, and curatorial works and design.
All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.
I wanted to represent the world as a temporary art installation continuously changing. I wanted to consider it unreal and unfinished, judge and transform it, a possibility that only art gives us.
Usually people start with painting and then go on to make installations; my painting came from installation.
Urban design is where the number are and easy size of installation plus the fast lessons to extend out to larger design acreage.
I consider myself fortunate that photography exists, because otherwise I'd be stuck in the tragedy of ephemeralness that can come with installation art.
I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work.
The geometry reveals five development direction for applications (each with endless possibilities); dividing, dwelling, trestle, fenestration and artistic installation. I find these enabled designs so reflective of an ever-changing world where contextual factors and technological resources are shifting definitions of architecture, design, and the traditional boundaries between disciplines.
Bombing embassies or destroying non-military installations like the World Trade Center is no jihad. “[T]hose who launched the Sept. 11 terrorist attacks not only killed thousands of innocent people in the United States but also put the lives of millions of Muslims across the world at risk. Bin Laden is not a prophet that we should put thousands of lives at risk for.
All the necessary elements of a room should not arrive on installation day. Room should always be left for the things we will acquire...the objects we cannot live without.
Since the moment of the United Nations' inception, untold energies have been expended by governments not only toward the exclusion of persons of principle and distinction from the organization's leading positions, but toward the installation of men whose character and affiliations would as far as possible preclude any serious challenge to governmental sovereignty.
Antiwar protestors actually sabotaged and caused a huge amount of damage to military installations and military property during the war. I'm related to someone who caused some of that damage. I mean, it was real. I mean, there was a reason. I'm not defending it, but I'm saying it was not because they didn't like the politics of the protesters. The protesters were violent in a lot of cases.
Real philosophy is like trying to read an alarm system installation manual in Korean.
I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations.
In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.
I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
I became much more interested in plot when I really didn't consider myself a writer anymore. When I was in an art context and I started to do installations, that was when writing of mine almost returned to fiction. Earlier I felt like I didn't have anything to write about, I could only concentrate on the page, I could only concentrate on words.
I see the world as a temporary site-specific installation, structures, infrastructures, the foundation of our sense of belonging and our identity, seen from afar, as a great scale model: the city as an avatar of itself.
Originally, one of the reasons I was drawn to photography, as opposed to painting or sculpture or installation, is that of all the arts it is the most democratic, in so far as it's instantly readable and accessible to our culture. Photography is how we move information back and forth.
A [spatial, temporal] work had only to be exhibited in a gallery and then written about and reproduced as a photograph in an art magazine. Then this record of the no longer extant installation, along with accretions of information after the fact, became the basis for its fame, and to a large extent its economic value.
My mother teaches high school English, and she's an artist and a poet and a sculptor, she's published twelve poetry books. I grew up in a household in Venezuela with living, breathing art installations that were the way that she used to express herself, a highly creative environment where ideas were celebrated, where artistic expression was celebrated. Seeing her as somebody who was always able to have a creative output - if she felt sad, she wrote a poem, if she felt happy, she made a sculpture - I think for me, there was an early interest in finding outlets for my passions.
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