With the advent of video in 1965, a concurrent strand of installation evolved through the use of new and ever-changing technologies, and what had been simple video installations expanded to include complex interactive, multimedia and virtual reality environments".
In the book "Themes in Contemporary Art", it is suggested that "installations in the 1980s and 1990s were increasingly characterized by networks of operations involving the interaction among complex architectural settings, environmental sites and extensive use of everyday objects in ordinary contexts.
In devising operatic works to commandeer the audience's senses, Wagner left nothing unobserved: architecture, ambience, and even the audience itself were considered and manipulated in order to achieve a state of total artistic immersion. The conscious act of artistically addressing all the senses with regard to a total experience made a resounding debut in 1849 when Richard Wagner conceived of a Gesamtkunstwerk, or an operatic work for the stage that drew inspiration from ancient Greek theater in its inclusion of all the major art forms: painting, writing, music, etc. out of the sensory stuff of ordinary life". This may leave space and time as its only dimensional constants, implying dissolution of the line between "art" and "life" Kaprow noted that "if we bypass 'art' and take nature itself as a model or point of departure, we may be able to devise a different kind of art. Allan Kaprow used the term "Environment" in 1958 (Kaprow 6) to describe his transformed indoor spaces this later joined such terms as "project art" and "temporary art."Įssentially, installation/environmental art takes into account a broader sensory experience, rather than floating framed points of focus on a "neutral" wall or displaying isolated objects (literally) on a pedestal. It was coined in this context, in reference to a form of art that had arguably existed since prehistory but was not regarded as a discrete category until the mid-twentieth century. Installation as nomenclature for a specific form of art came into use fairly recently its first use as documented by the Oxford English Dictionary was in 1969.
Wolf Vostell shows his installation 6 TV Dé-coll/age in 1963 at the Smolin Gallery in New York.Īllan McCollum. Early non-Western installation art includes events staged by the Gutai group in Japan starting in 1954, which influenced American installation pioneers like Allan Kaprow. This again is a departure from traditional sculpture which places its focus on form. The "intention" of the artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. Installation art came to prominence in the 1970s but its roots can be identified in earlier artists such as Marcel Duchamp and his use of the readymade and Kurt Schwitters' Merz art objects, rather than more traditional craft based sculpture.
These included the Mattress Factory, Pittsburgh, the Museum of Installation in London, and the Fairy Doors of Ann Arbor, MI, among others. Since its acceptance as a separate discipline, a number of institutions focusing on Installation art were created. Likewise, Walt Disney Imagineering employed a similar philosophy when designing the multiple immersive spaces for Disneyland in 1955.
Artistic collectives such as the Exhibition Lab at New York's American Museum of Natural History created environments to showcase the natural world in as realistic a medium as possible. Many installations are site-specific in that they are designed to exist only in the space for which they were created, appealing to qualities evident in a three-dimensional immersive medium. The genre incorporates a broad range of everyday and natural materials, which are often chosen for their " evocative" qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces. Installation art can be either temporary or permanent. Visitors interact with a couple in bed, inside one of the many environments of La Menesunda (1965), one of the earliest large-scale installations in art history.