LASUTECH- FAA 337: NEW ART TRENDS

VIDEO ART
The medium of video has offered artists new ways of conveying old, as well as
contemporary themes. One of the leading exponents of video art is the Korean-
born composer, performer, and visual artist Nam June Paik (b. 1932). He began
exploring the potential of electronics as art in the late 1950s.
Video art is an art form which relies on using video technology as a visual and
audio medium. Video art emerged during the late 1960s as new consumer video
technology such as video tape recorders became available outside corporate
broadcasting.
Video art is a form of artistic expression that uses the video as a primary medium
of artistic communication. It focuses on the creation of works that explore different
areas and aspects of art such as time, space and movement through visual and
auditory media
One of the key differences between video art and theatrical cinema is that video art
does not necessarily rely on many of the conventions that define theatrical cinema.
Video art may not employ the use of actors, may contain no dialogue, may have no
discernible narrative or plot, and may not adhere to any of the other conventions
that generally define motion pictures as entertainment. This distinction also
distinguishes video art from cinema's subcategories such as avant
garde cinema, short films, or experimental film.
The difference between film and video art is, while film uses moving pictures to
tell a story, video art uses moving pictures for pure artistic expression.
Unlike television programs, video art can be viewed on video monitors, but not on
a computer screen.

INSTALLATION ART
Definitions:
Installation is a term that can be applied very generally to the disposition of objects
in an exhibition (the hanging of paintings, the arrangement of sculptures, and so
on), but which also has the more specific meaning of a one-off work (often a large-
 scale assemblage) conceived for and usually more or less filling a specific interior
(generally that of a gallery).

Installation Art is a broad term applied to a range of arts practice which involves
the installation or configuration of objects in a space, where the totality of objects
and space comprise the artwork. Installation Art is a mode of production and
display of artwork rather than a movement or style.

The term installation art is used to describe large-scale, mixed-media

constructions, often designed for a specific place or for a temporary period of time.
It is a three-dimensional art form that is often large-scale, immersive, and site-
specific.

In the 1970s, installations were often impermanent and could be seen as part of the
movement against the collectable art ‘object’ that was so fashionable at the time.
However, many installations are now intended for permanent display, and even
some of the most unlikely works have proved collectable.

Installation art is a unified experience that's meant to transform the viewer's

perception of space. It can be temporary or permanent, and is often made with
mixed media and multi-sensory elements like sound and light. Installation art is
meant to be experienced in person, and often invites viewers to interact with the
artwork.

Major characteristics of installation art

 Mixed media. Contemporary artists usually create art installations in mixed media.
 Sensory experience. This point follows from the previous one. ...
 Conceptual use of space. ...
 Site-specificity. ...
 Temporality.

 Materials and Mediums in Installation Art

Installation art pushes boundaries, blending diverse materials and mediums to
create immersive experiences. Artists use traditional and contemporary elements,
from paint to digital media, to engage viewers and provoke thought in specific
spaces. The selection of materials is crucial, carrying inherent meanings that
contribute to the artwork's message. Artists carefully consider properties, cultural
significance, and technical challenges when creating large-scale installations that
challenge perceptions and explore complex themes.
Key Concepts in Installation Art

 Encompasses large-scale, mixed-media constructions designed for a

specific space (galleries, museums, public spaces)
 Engages the viewer's senses through immersive, interactive experiences
 Often site-specific, created in response to the unique characteristics of a
particular location
 Incorporates a wide range of materials, from traditional art supplies to
unconventional, everyday objects
 Challenges traditional boundaries between art and audience, encouraging
active participation and engagement
 Explores themes such as space, time, perception, and the relationship
between art and environment
 Frequently addresses social, political, and environmental issues, provoking
thought and dialogue
 Requires careful planning, collaboration, and technical expertise to execute
successfully

Traditional vs. Contemporary Materials

 Traditional materials include paint, canvas, stone, wood, metal, and other
conventional art supplies
o Often associated with classical art forms (painting, sculpture)
o Provide a familiar foundation for artists to build upon and subvert
 Contemporary materials encompass a vast array of unconventional,
everyday objects and substances
o Found objects, recycled materials, industrial components, digital
media, and ephemeral elements (light, sound, scent)
o Reflect the diversity and complexity of modern life and the
expanding definition of art
 Installation artists often combine traditional and contemporary materials to
create unique, hybrid works
o Juxtaposition of old and new materials can generate new meanings
and associations
o Mixing materials allows for greater experimentation and pushes the
boundaries of what constitutes art
 The choice between traditional and contemporary materials depends on the
artist's concept, intended message, and desired viewer experience
Common Mediums in Installation Art

 Sculpture: three-dimensional forms created from various materials (wood,

metal, plastic, found objects)
 Video and digital media: projections, screens, interactive displays, and
virtual reality experiences
 Sound and audio: recordings, live performances, and ambient noise
incorporated into installations
 Light and illumination: LED lights, projectors, and natural light sources
used to create atmosphere and visual effects
 Textiles and fabrics: woven, draped, or suspended materials that add
texture, color, and movement to installations
 Organic matter: natural elements (plants, soil, water) integrated into works
to evoke environmental themes
 Architecture and space: the physical structure and layout of the installation
itself, designed to guide viewer experience
 Performance: live actions, choreography, and audience participation as
integral components of the artwork

Innovative and Unconventional Materials

 Recycled and repurposed objects: discarded items given new life and
meaning within an installation context
o Plastic waste, scrap metal, old furniture, and obsolete technology
o Highlights issues of consumerism, waste, and environmental
sustainability
 Perishable and organic substances: food, plants, bodily fluids, and other
ephemeral materials that decay over time
o Introduces elements of change, unpredictability, and temporality into
the artwork
o Raises questions about the nature of art, permanence, and the
passage of time
 Digital and virtual components: computer-generated imagery, interactive
software, and online platforms
o Allows for the creation of immersive, participatory experiences that
blur the line between physical and digital realms
o Engages with themes of technology, connectivity, and the impact of
the digital age on society
  Unconventional building materials: industrial components, construction
supplies, and architectural elements
o Concrete, steel, scaffolding, and shipping containers repurposed as
artistic mediums
o Explores the relationship between art, architecture, and the built
environment

Material Selection and Conceptual Meaning

 Materials carry inherent associations, connotations, and symbolic meanings

that contribute to the artwork's overall message
o Example: using recycled plastic to comment on environmental issues
and consumer culture
 Artists carefully consider the properties, histories, and cultural significance
of materials when creating installations
o The choice of medium can reinforce, complement, or contrast with
the intended theme or concept
 Unconventional materials can challenge viewer expectations and provoke
new ways of perceiving and interpreting art
o Encourages audiences to question the boundaries between art and
everyday life
 The juxtaposition and combination of different materials can create layers
of meaning and generate new associations
o Example: combining organic and industrial materials to explore the
tension between nature and technology
 Material selection can also impact the viewer's sensory experience and
emotional response to the artwork
o Tactile, olfactory, and auditory elements can evoke specific moods,
memories, and reactions.

Technical Considerations and Challenges

 Large-scale installations often require extensive planning, collaboration,

and logistical coordination
o Artists work closely with curators, technicians, and fabricators to
realize their vision
o Detailed sketches, models, and digital renderings help communicate
the concept and guide the installation process
 Structural integrity and safety are critical concerns when working with
unconventional materials and large-scale constructions
 o Artists must consider factors such as weight distribution, stability,
and potential hazards
o Consultations with engineers, architects, and safety experts ensure
the artwork meets necessary standards
 The installation process itself can be time-consuming and labor-intensive,
requiring specialized skills and equipment
o Assembling, mounting, and securing components may involve
welding, carpentry, and other technical tasks
o Adequate time and resources must be allocated for the installation
and de-installation phases
 Maintenance and preservation of the artwork can present ongoing
challenges, particularly with ephemeral or delicate materials
o Artists must provide clear instructions and guidelines for the care
and upkeep of the installation
o Conservators and museum staff play a crucial role in ensuring the
longevity and integrity of the artwork over time

Hands-on Experimentation and Techniques

 Installation artists often engage in extensive experimentation with materials

and techniques to develop their unique artistic language
 Sketching, model-making, and prototyping help artists test ideas, refine
concepts, and anticipate potential challenges
o Small-scale maquettes and 3D models allow for visualization and
iteration before committing to the final installation
 Collaboration with other artists, technicians, and specialists can expand the
range of possibilities and foster interdisciplinary approaches
o Working with professionals from fields such as engineering,
programming, and fabrication can help realize complex technical
aspects of the installation
 Artists may need to acquire new skills or adapt existing techniques to work
with unconventional materials and large-scale constructions
o Learning welding, carpentry, or digital fabrication methods can open
up new creative avenues and possibilities
 Documenting the experimentation process through photographs, videos,
and sketches can provide valuable insights and inform future projects
o Keeping a detailed record of material tests, technical solutions, and
lessons learned can serve as a reference for ongoing artistic
development
  Embracing a trial-and-error approach and being open to unexpected
outcomes can lead to innovative breakthroughs and discoveries
o Happy accidents and unintended results can often inspire new
directions and enrich the final installation

ASSEMBLAGE
A term coined by Jean Dubuffet in 1953 to describe a type of work made from
fragments of natural preformed materials, such as household debris. Some critics
maintain that the term should apply only to three-dimensional found material and
not to collage.
Assemblage is a broad ranging term referring to sculpture or installation art that
‘assembles’ various found objects. In contrast with two dimensional collage,
assemblage art is generally three dimensional.
The origin of the art form dates to the cubist constructions of Pablo Picasso c.
1912–1914. The origin of the word (in its artistic sense) can be traced back to the
early 1950s, when Jean Dubuffet created a series of collages of butterfly wings,
which he titled assemblages d'empreintes. However, Marcel Duchamp, Jean
Arp and others had been working with found objects for many years prior to
Dubuffet. The earliest woman artist to try her hand at assemblage was Elsa von
Freytag-Loringhoven.
In the early 20th century, many artists increasingly began incorporating everyday
objects into their paintings and sculptures, blurring the lines between art and life.
Ranging across styles, avant-garde artists created three-dimensional, mixed-media
assemblages that questioned the very definition of art as it had come to be known.
Using mass-produced objects and junk, artists like Marcel Duchamp often made
satirical and biting critiques of modern, commercial culture. In the 1950s, Jean
Dubuffet coined the term Assemblage for this hybrid art form, and while other
artists used terms like Combines or Accumulations, the trend took off in the second
half of the 20th century.

Artists such as Robert Rauschenberg, Arman, and Martha Rosler pushed the
boundaries of Assemblage into the realm of Installation and Performance, creating
immersive environments and experiential events. More contemporary artists such
as David Hammons and Tracy Emin engage Assemblage techniques to create
works that confront viewers in challenging ways.
 Key Ideas & Accomplishments

 Assemblage art combines mundane objects in new and surprising ways, requiring
the viewer to question their relation to the world of objects around them.
Sometimes used as social critique or as an exploration of the fantastical and dream
worlds, Assemblage art gives objects new meanings, makes creative connections
between disparate elements, and elevates non-art materials into the realm of art.
 In combining readymade or found objects with varying degrees of modifications,
Assemblage art challenges the medium specificity that formalist critics insisted
structured the progress of modern art. Blurring the distinctions between painting,
sculpture, and theater, Assemblage art is not just an optical experience but engages
multiple senses and often requires more physical interaction on the viewer's part.
 Because it usually incorporates manufactured items and non-art materials, much
Assemblage art aims to question notions of authorship and originality that have
been so important to traditional concepts of the artist. In choosing the objects
instead of hand-crafting them, the Assemblage artist subverts the traditional notion
of the artist as a creator. Additionally, because Assemblage art is often a
characteristic of folk art traditions, who can be considered an "artist" has greatly
expanded over the decades, incorporating untrained and self-taught artists outside
of the mainstream.

CONCEPTUAL ART
A type of art in which the idea or ideas that a work represents are considered its
essential component and the finished ‘product’, if it exists at all, is regarded
primarily as a form of documentation rather than as an artefact. Its origin goes back
to Marcel Duchamp, but it wasn’t until the later 1960s that Conceptual art became
a recognizable movement and acquired its name.
Conceptual art challenges our definition of art radically, insisting that the leap of
the imagination, not the execution, is art. According to this view, works of art can
be dispensed with altogether, since they are incidental by-products of the
imaginative leap. So too can galleries and, by extension, even the artist’s public.
The creative process need only to be documented in some way. Sometimes the
documentation is in verbal form, but more often it is by still photography, video, or
cinema exhibited within an installation.
Conceptual art is not about forms or materials, but about ideas and meanings. It
cannot be defined in terms of any medium or style, but rather by the way it
questions what art is. In particular, Conceptual art challenges the traditional status
of the art object as unique, collectable or saleable. Because the work does not take
a traditional form it demands a more active response from the viewer, indeed it
could be argued that the Conceptual work of art only truly exists in the viewer’s
mental participation.

PERFORMANCE ART
Performance art, which originated in the early decades of the 20 th century, belongs
for the most part to the history of theater. It is an art form that combines elements
of theatre, music, and the visual arts.
Performance art is an artwork or art exhibition created through actions executed
by the artist or other participants. It may be witnessed live or through
documentation, spontaneously developed or written, and is traditionally presented
to a public in a fine art context in an interdisciplinary mode. Also known
as artistic action, it has been developed through the years as a genre of its own in
which art is presented live. It had an important and fundamental role in 20th
century avant-garde art.

It involves five basic elements: time, space, body, presence of the artist, and the
relation between the artist and the public. The actions, generally developed in
art galleries and museums, can take place in any kind of setting or space, and
during any time period. Its goal is to generate a reaction, sometimes with the
support of improvisation and a sense of aesthetics. The themes are commonly
linked to life experiences of the artist themselves, the need for denunciation or
social criticism and with a spirit of transformation.

While traditional art forms like painting or sculpture focus on creating static,
tangible objects that can be viewed at any time, performance art is inherently
temporary and often site-specific: Audience Interaction. Performance art is
interactive, often sharing the formula between the artwork and the observer.

DIGITAL ART
Digital art is any artwork that draws upon digital technology as an essential part of
its creative process. It encompasses a wide range of techniques, from digital
drawings, paintings, and illustration, to photos, videos, and even sculpture.
The three main categories of digital art are: Computer-Generated Visual Media,
Digital Photography, & Darkroom and Digital Installation Art through projection
mapping for example. There are several subcategories and, of course, the artist can
combine any and all to create their own unique vision.

ANIMATION
Animation is the art of making inanimate objects appear to move. Animation is an
applied art that makes still images appear to move. The images can be 2D or 3D
and are created using one or multiple technologies to create a specific effect.
They are categorized by the process used to create them. The most common types
of animation are traditional 2D animation, 3D animation, motion graphics, and
stop motion. Each type of animation has its own unique set of advantages and
disadvantages. They're used for different purposes, too.

KINETIC/MOBILE
This applies to art that moves or appears to move. In its broadest sense, the term
can encompass a great deal of phenomena, including cinematic motion pictures.
More usually, it is applied to sculptures such as mobiles that are moved by air
currents or by some artificial means, usually electronic or magnetic.

FEMINIST ART
A term applied to art that deals with issues specifically relating to women’s
identity and experience. As a movement it originated in the late 1960s, in parallel
with the militant Women’s Liberation Movement. It is not associated with any
particular style or medium, but rather is concerned with a range of endeavor aimed
at giving women a just place in the world and specifically in the art world which
feminist artists regard as heavily biased in favour of men.