You will prepare and submit a term paper on Installation Practices and the Relationship between the Object Viewed and the Spectator. Your paper should be a minimum of 2000 words in length. For example, the “spectator” not only becomes installed in the artwork but they also become part of the environment. Consequently, installation practices are often able to change the way the artworks or objects are apprehended altogether.
Installation art is all about site-specific three-dimensional works that are normally designed to transform and change the viewer’s perception of space. The notion of installation practices can be traced back to the late 19th century when a number of artists began to move beyond the impulse of decorating or narrating and included elements of immersing spectators in an experience of beauty that encompasses their whole field of vision. This was particularly achieved by loading large interior spaces with items that evoke multiple or complex associations of thought, moods, and longing.
A spectator is often is not just the beholder or the aesthetic viewer of art but also goes to occupy a central place in aesthetic experience. Many authors such as Fried (1998) particularly describe Spectators as interactively get engaged in the work of art. Today, installation practices are commonly applied in interior exhibition spaces such as art galleries, museums as well as other public or private spaces. According to De Oliveira and Oxley (2003, p.46), the installation genre of art incorporates a wide range of natural or everyday materials that are usually chosen based on their evocative qualities. This paper supports the argument that various modes of installation practice have irrevocably changed the relationship between the art objects viewed and the spectator based on a comparative analysis of three important installation works.
There are a number of installation works of art that effectively confirms the irreversible effects of installation practices on the relationship and interaction between the spectators and the art objects. This is particularly evidenced in their aesthetics, popularity (Reiss, 2011, p.123).