- Installation art doesn’t treat the viewer as a spectator but as an agent in how it defines a place: This means that viewer interaction is crucial and that we should consider the implications of the location
- It’s impossible to have a definitive history of installation art as communities and cultures are constantly changing
- Understand where the viewer should be located and what they are seeing
- It’s interesting that the article references the Baroque period when talking about trompe l’oeil because I just learned about that in my art history class. A lot of paintings on ceilings or walls created the illusion of space with arches or columns that did not actually exist.
- Sometimes the extent to which a viewer activates a work goes beyond the artists control
- Installation art puts emphasis on the potential of social change and experiential outcome
- The site of the artwork is the studio
- “…highlights how temporal experiences call attention to the precariousness of systems of representation.” I’m not sure what this means- what are systems of representation and what are some examples?
- Consider urban public spaces as a living, changeable, and shared- urban art installations often reference both past and present
- Think about how we hear, touch, and smell the installation
ART 1120 Process Journal 