Installation workshop with immersive sculpture artist, CJ Mahony – class notes
Course description: Spacial Installation
Encompassing different approaches of exploration of space and site through installation art; including immersive sculpture, ephemeral and site specific installation, land art and public art
The session will begin with a presentation introducing documentation of a number of key art works that encompass installation, immersive sculpture, land art and public art.
In addition there will be a introduction to techniques and process and in support of that potential equipment and materials as well as one critical text for further reading
The rest of the session will then be spent on an experimental making workshop designed to enable the student to experiment with some of the ideas and themes that have been introduced through the presentation.
CJ Mahony is a visual artist who works with immersive sculpture. She builds installations that restrict and expand space, manipulating light and darkness to provoke an intensification and complication of sensations and reactions. These distortions create a heightened state of awareness and uncertainty, requiring the audience to negotiate physically and emotionally in order to traverse the work. The work balances disorientation, curiosity and trepidation as a means to deliver a moment of intensity and presence.
– Says her work is all about presence; it doesn’t exist without someone experiencing it. As a result much of her work is seen at solo viewings, where you are alone with the work in order to be uninhibited about how you ‘ought’ to be reacting to it.
– She uses muse objects that she refers to when working on something – what are they? I like the idea of trigger objects.
– Choreography of audience (see Hayward Light show where [tbc] slowed down film to make people watch it for longer)
(US; a museum of contemporary art that presents art you can get into — room-sized environments, created by in-residence artists)
(UK; contemporary art projects over a variety of sites commissioned via their Open or Artangel Participation calls for artists)
(US; Now an affiliate of The Museum of Modern Art, it is an exhibition space rather than a collecting institution)
Art and Objecthood – Michael Fried
(Essay positioning “Art” and “objecthood” as two opposing forces. In “art,” the objects employed to construct the work were autonomous entities, disconnected from the surrounding world. In “objecthood” the objects worked together to form one large object, but achieved nothing more than emphasizing that the result was, in the end, just an object)
Installation Art, Claire Bishop
(But is it Installation Art? Article from Tate etc.)
The Contingent Object in Contemporary Art, Martha Buskirk
(Martha Buskirk addresses the fact that since the early 1960s, almost anything can and has been called art. She shows how the mechanisms through which art is presented shape not only readings of the work but the work itself. She uses her discussion of the readymade (art made from manufactured objects) and conceptual art to explore broader issues of authorship, reproduction, context, and temporality)
Saving the Ephemeral: The Conservation of Installation Art Ed. Barbara Ferriani, Marina Pugliese.
(the questions and dilemmas around the management and preservation of installation art)