Framed Spaces: Photography and Memory in Contemporary Installation Art (Interfaces: Studies in Visual Culture)
Monica E. McTighe
Language: English
Pages: 264
ISBN: 1611682061
Format: PDF / Kindle (mobi) / ePub
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. Monica E. 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.
To represent — to archive — the present.19 The longing to grasp the present is only partially solved by the photograph. It is photography’s indexicality that makes it seem to offer “presentness.” But even the photograph, which fixed a mo ment of time, always represents the past. In the photographs of the experiential installations of Mary Miss and Suzanne Harris, the “impossible desire to represent the present” is c learest. The photographs do not capture what the work is about. Doane argues.
Ian architecture: “The entire web of meaning and associations generated by structures, and more particularly, houses, is left unburdened, freed from the weight of habitual assumptions.”58 The house seemed lighter in terms of both illumination and atmosphere. Another commentator notes that it became more and more intimidating to cross the cut because, as one climbed the stairs, the gap between the two halves became wider and wider. The cut both joined inside and outside and made the interior a.
Duration because Bergson claims duration is more accurate than the “cinematographical” or scientific depiction of experience. We could say that the gap between Matta-Clark’s snapshots, the flicker of the images, as in a film, points to th e duration th at w e cannot experien ce a s view ers of s till p hotographs. And Matta-Clark arranged the text in the book as if it were a silent film. Because of the nature of the photographs in Splitting, viewers of these images a nd ob jects a re made a ware.
O accommodate the mass es. The photograph is flat and thin, reducing experience to a set of visual information locked in a frame. Memory as photographic reproduction and archival materials, in repressing certain kinds o f sensuous information, marks the stark divide between the past and the present, between memory that consists of visual data and memory that engages more of the senses. The transformation of memory practices generated both excitement and crisis. As Mary Ann Doane writes, in.
Institute at Harvard. She then attended the Whitney Independent Study Program in 1989–1990. 9 Green’s work in the 1990s consisted of projects in which she exhibited the research materials she ga thered in her tra vels and work. Green’s practice of including reflection on her travels as an artist connects her to other traveling artists who chronicled their trips in various ways, such as Robert Smithson.10 Green’s series and sequences of photographs and slides in her in stallations and films.