In this Book

summary
While earlier theorists held up "experience" as the defining character of installation art, few people have had the opportunity to walk through celebrated installation pieces from the past. Instead, installation art of the past is known through archival photographs that limit, define, and frame the experience of the viewer. McTighe argues that the rise of photographic-based theories of perception and experience, coupled with the inherent closeness of installation art to the field of photography, had a profound impact on the very nature of installation art, leading to a flood of photography- and film-based installations. With its close readings of specific works, Framed Spaces will appeal to art historians and theorists across a broad spectrum of the visual arts.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Title Page, Copyright
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  1. Contents
  2. pp. v-vi
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  1. Acknowledgments
  2. p. vii
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  1. Introduction
  2. pp. 1-22
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  1. 1. Expanding the Frame: Installation Art in the 1970s
  2. pp. 23-71
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  1. 2. The Politics of Representation: Archive and Memory in the Work of Renée Green
  2. pp. 72-115
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  1. 3. The Poetics of Experience: Ann Hamilton's Installations and Photographs
  2. pp. 116-163
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  1. 4. Camera Obscura: Memory in Film and Video Installations in the 2000s
  2. pp. 164-200
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  1. Conclusion: Installation Art and Memory
  2. pp. 201-207
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  1. Notes
  2. pp. 209-226
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  1. Bibliography
  2. pp. 227-237
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  1. Index
  2. pp. 239-254
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Additional Information

ISBN
9781611682519
Related ISBN
9781611682052
MARC Record
OCLC
792808415
Pages
248
Launched on MUSE
2012-06-08
Language
English
Open Access
No
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