Tyree Guyton’s Rosa Parks Street Sign: Fragment from the Heidelberg Project Art Installation

Callaloo ◽  
2014 ◽  
Vol 37 (4) ◽  
pp. 870-870
Author(s):  
Jamaal May
Keyword(s):  
Art Installation ◽  
Street Sign ◽  
Heidelberg Project

The VideoMob Interactive Art Installation Connecting Strangers through Inclusive Digital Crowds

2015 ◽  
Vol 5 (2) ◽  
pp. 1-31 ◽  
Author(s):  
Emily Grenader ◽  
Danilo Gasques Rodrigues ◽  
Fernando Nos ◽  
Nadir Weibel
Keyword(s):  
Interactive Art ◽  
Art Installation

Immersion, interactivity and three-dimensionality: virtual reality documentation of media art installations

2021 ◽  
Author(s):  
Kira A. Brown
Keyword(s):  
Virtual Reality ◽  
Case Studies ◽  
Three Dimensional ◽  
Research Paper ◽  
Sensory Experience ◽  
Three Dimensions ◽  
Media Art ◽  
Essential Information ◽  
Art Installation ◽  
High Level

This research paper explores the possibilities for virtual reality (VR) documentation of media art installations. Based on an analysis of the characteristics of media art, and a survey of current documentation strategies, this paper investigates the viability of three-dimensional documentation. Four cross-disciplinary case studies are presented and analysed to demonstrate that VR documentation provides an immersive and richer reconstruction of a media art installation in three dimensions. In addition, the interactive components can be simulated within the VR environment, offering the possibility for curators and visitors to virtually re-experience the artwork. The case studies show that, although the creation of VR documentation can be costly and time-consuming, and currently requires a high-level of expertise, it can be a useful addition to established documentation strategies by providing essential information about the visual aspects of the artwork, its environment and the user’s multi-sensory experience.

scholarly journals The imaginary worlds of sustainability: observations from an interactive art installation

2017 ◽  
Vol 22 (2) ◽  
Author(s):  
Roy Bendor ◽  
David Maggs ◽  
Rachel Peake ◽  
John Robinson ◽  
Steve Williams
Keyword(s):  
Interactive Art ◽  
Art Installation

scholarly journals ‘Making the Invisible Visible’: an audience response to an art installation representing the complexity of congenital heart disease and heart transplantation

2018 ◽  
Vol 45 (4) ◽  
pp. 399-405 ◽  
Author(s):  
Giovanni Biglino ◽  
Sofie Layton ◽  
Matthew Lee ◽  
Froso Sophocleous ◽  
Susannah Hall ◽  
...  
Keyword(s):  
Congenital Heart Disease ◽  
Heart Disease ◽  
Heart Transplantation ◽  
Congenital Heart ◽  
Illness Narratives ◽  
Congenital Defects ◽  
Art Installation ◽  
Arts And Health ◽  
The Voice ◽  
The Invisible

The arts can aid the exploration of individual and collective illness narratives, with empowering effects on both patients and caregivers. The artist, partly acting as conduit, can translate and re-present illness experiences into artwork. But how are these translated experiences received by the viewer—and specifically, how does an audience respond to an art installation themed around paediatric heart transplantation and congenital heart disease? The installation, created by British artist Sofie Layton and titled Making the Invisible Visible, was presented at an arts-and-health event. The piece comprised three-dimensional printed medical models of hearts with different congenital defects displayed under bell jars on a stainless steel table reminiscent of the surgical theatre, surrounded by hospital screens. The installation included a soundscape, where the voice of a mother recounting the journey of her son going through heart transplantation was interwoven with the voice of the artist reading medical terminology. A two-part survey was administered to capture viewers’ expectations and their response to the piece. Participants (n=125) expected to acquire new knowledge around heart disease, get a glimpse of patients’ experiences and be surprised by the work, while after viewing the piece they mostly felt empathy, surprise, emotion and, for some, a degree of anxiety. Viewers found the installation more effective in communicating the experience of heart transplantation than in depicting the complexity of cardiovascular anatomy (p<0.001, z=7.56). Finally, analysis of open-ended feedback highlighted the intimacy of the installation and the privilege viewers felt in sharing a story, particularly in relation to the soundscape, where the connection to the narrative in the piece was reportedly strengthened by the use of sound. In conclusion, an immersive installation including accurate medical details and real stories narrated by patients can lead to an empathic response and an appreciation of the value of illness narratives.

scholarly journals Representation and identity issue between globalism and localism: The case of Hong Kong pavilion at the Venice Biennale

2015 ◽  
Vol 7 (2) ◽  
pp. 173-190
Author(s):  
Wah Kit
Keyword(s):  
Hong Kong ◽  
Political Identity ◽  
Public Consultation ◽  
Social Critique ◽  
Cultural Dynamics ◽  
Art Installation ◽  
The University ◽  
New Generation ◽  
Venice Biennale

In this presentation Lee Kit's art installation at the Venice Biennale in 2013 is used as a case study of the ways in which artworks represent and help to construct representations of Hong Kong's challenge to and subversion of an aggressive and powerful rising China. In contrast with the explicit social critique and grandeur of artworks exhibited in the China Pavilion, Lee Kit's art installation - "an impressionistic house" - in the Hong Kong Pavilion appears not only abstract but mundane and even trivial. As the artist was handpicked by the organizer, without any prior public consultation, there has been heated public debate on the extent to which it is representative of Hongkongness. I argue that the apparently trivial and ordinary elements of Lee's work constitute rather than reflect the new generation of Hong Kong art. These elements may also be part of a strategy for negotiating the political identity inescapably imposed on Hong Kong by China. Hong Kong art now has the potential to distance itself from or express skepticism toward the grand narratives presented by China, to paraphrase the writing of art historian David Clarke (1997). I believe part of the aims of the international conference on "Hong Kong as Method" held at the University of Hong Kong in December 2014 is to use the ordinary to destabilize and challenge Hong Kong's taken-for-granted political identity and thereby promote diversity and inter-Asian cultural dynamics.

scholarly journals The CanLit Dinner Party: Feasting on Books in the Literature Classroom

2016 ◽  
Vol 7 (1) ◽  
Author(s):  
Shelley Boyd ◽  
Nicole Hollinson
Keyword(s):  
Experiential Learning ◽  
English Literature ◽  
Literature Classroom ◽  
Writing Assignments ◽  
Essay Writing ◽  
Dinner Party ◽  
Canadian Literature ◽  
Art Installation ◽  
Central Topic ◽  
Classroom Assignment

This article examines the “CanLit Dinner Party”, a multimedia exhibition undertaken in an undergraduate seminar on Canadian literature where food was the central topic. Modelled in part after Judy Chicago’s art installation The Dinner Party, this 24-hour exhibition featured interpretive plates inspired by literary food scenes. As a form of experiential learning, the classroom assignment was designed to enhance the students’ critical appreciation for the art of storytelling through food, to think across disciplines, and to synthesize food-related themes studied over the course of the semester. A departure from essay-writing assignments typically found in English literature courses, the “CanLit Dinner Party” underscored food’s role as a cultural idiom by requiring students to engage with its material dimensions.

scholarly journals Forgotten memories: the notion of sacrum in artistic expression

2021 ◽  
Author(s):  
Radek Pacanowskj
Keyword(s):  
Human Life ◽  
Historical Context ◽  
Artistic Expression ◽  
Skeletal Structure ◽  
Critical Examination ◽  
Cultural Significance ◽  
Self Identity ◽  
Personal Story ◽  
Artistic Process ◽  
Art Installation

This paper is a critical examination of the artistic process undertaken to complete a mixed media art installation, exploring the concept of "sacrum" as the nucleus of the peasant culture of XIX century Poland. As demonstrated by the prevalence of sacred inclinations embedded in the moral consciousness of Polish peasant history, sacrum is the innate orientation towards realities that transcend time and matter - the active and passive reflection of that which lies outside the realm of human sensory experience. At its core, this project explores sacred elements embedded in Polish culture - these elements are not merely reflected upon, but are also reacted to and acted upon by the artist, thus revealing the forgotten sacredness of the most mundane objects and practices of human life. As such, this creative process functions as a research tool, which, by using interdisciplinary illuminations, now acts as a stimulus for the creation of new knowledge. Utilizing the notion of praxis, this project determines whether artistic expression facilitates the communication and sharing of undiluted knowledge. The ultimate aim of this endeavour is to understand the extent to which the artistic process is capable of sustaining the pure essence of expression, and of mediating the transcendent elements inherent in human culture. The approach taken is based on the richness of signals emanating from the artist's own personal history. It includes not only that which is utterly personal, but also that which is culturally determined, offering insight into the various social forces shaping the content of one's own self-identity. The process of tracing the lineage of a personal story is the chosen means used to deconstruct the complexity of cultural tectonics. Through a series of ritualistic actions, embedded with both personal and cultural significance, a transformation takes place, in that, the resulting disarray of energies, now freed from the skeletal structure of self-reality, reveal a sharper, more enlightened view of the spirit that permeates the artist's enveloping culture. The conclusions derived, highlight the inherent complexity of the artistic cycle and the various ways in which the intended message is distorted and/or misinterpreted. However, as suggested by the study's findings, this unavoidable, resulting distortion need not detract in any way from the inherent value of artistic expression and the artistic process. The creative journey taken was truly successful in the realization of a fuller, broader understanding of personal identity within a larger cultural, historical context. In addition, the commitment to praxis, as opposed to passive reflection, successfully revealed evidence of sacrum's inherent, interwoven existence within a greater personal and cultural ontology.

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