The act of installation moves away from the traditional and the conventional aspects into the concept of the works literal space, this introduction of ‘site specific’ style allowed artists to experiment through mediums in order to define circumstances of personal or cultural importance. Sculpture as a form enables the viewer to gain a sense of real time and spatial awareness.
Buren suggests that the museum although permits grand exhibitions, it limits the works fundamental purpose of extension beyond its physicality. Buren’s work Within and Beyond the Frame (1973) exploits the concept of boundaries within the physical space and thereby leaves his work open to interpretation. Throughout the 1960s criticism towards the term museum arose as artists perceived a museum was not contemporaneous with daily life.
The underlying concept of an intervention is to move the “conventional” out of installation. Minimal artists such as Carl Andre captured the essence of this by extending their works enabling the once ‘flat’ object to become a three-dimensional form. Andre’s works utilised the physical space as his works were unobtrusive to the eye and allowed the viewer to become part of the work. Andre’s work 100 Lead Square (1968) invites the viewer further into the gallery drawing attention to the structure in relation to the artwork.
Artist Richard Serra wished to deconstruct architecture establishing three-dimensional sculptures that contradicted space. Serra’s Delineator (1974-75) and Bruce Nauman’s Double Steel Cage (1974) induced distressing viewer participation. Both works were site-specific, and engaged the viewer through a different emotion to that of Andre.
The Performance art of Vito Acconci Seedbed (1972) engaged the viewer as it corrupted the ‘innocence of space’, whilst challenging the traditional concepts of museum.
Installation art serves a far reaching purpose of multicultural interaction, where the concept of realities and cultural values are encompassed to represent life.
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