Browsing by Subject "installation"
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Item Adrian Piper: A Retrospective(Fine Arts Gallery, University of Maryland Baltimore County, 1999) Berger, Maurice; Center for Art, Design and Visual Culture; Center for Art, Design and Visual CultureOne of the most influential artists of her generation, Adrien Piper has produced an exceptionally impressive body of work spanning a period of over thirty years. She played a formative role in the emergence of Conceptual art in the 1960-s and 1970s and an even more crucial role in the development of identity-based art in the 1980s and 1990s. Perhaps her most significant contribution has been to reaffirm the utopian potential of avant-garde art to transform society. Specifically, her reliance on minimalist and conceptualist forms generally thought by critics to be hermetic to effect social change has actually enhanced the ability of art to motivate viewers to examine intransigent attitudes about race, gender, and difference. A prominent philosopher as well as an artist, Piper has produced objects, installations, performances, videos, and soundworks that have established a direct, active relationship between artist and spectator, permitting neither to retreat to the usual defensive rationalizations that distance art from subjects as discomforting as personal bigotry and xenophobia. This catalogue, produced in conjunction with the retrospective exhibition organized by Maurice Berger, is the most comprehensive book ever published on the artist. Prolifically illustrated, it includes essays by Berger, Laura Cottingham, Jean Fisher, Kobena Mercer, Dara Meyers-Kinglsey, and the artist herself that illuminate the complex relationships between form and content in Piper's oeuvre from a variety of perspectives.Item Fred Wilson: Objects and Installations, 1979-2000(Center for Art and Visual Culture, 2001) Berger, Maurice; Center for Art, Design and Visual Culture; Center for Art, Design and Visual CultureFred Wilson: Objects and Installations, 1979-2000 explores the artist’s sustained aesthetic inquiry into the relationship between art and the museum. Wilson’s “mock” museum installations, into which he places provocative and beautifully rendered objects, explore the question of how the museum consciously or unconsciously perpetuates prejudice. If social justice is Wilson’s ultimate subject, the museum itself becomes his medium—from the use of meticulously fabricated objects to the careful selection of wall colors, lighting, display cases, and even wall labels. Sometimes the artist reconfigures and supplements the collection of an actual museum—as in his extraordinary installation Mining the Museum, for the Maryland Historical Society in 1992. Other times he creates gallery installations that imitate the look and sensibility of the museum. In the end, Wilson’s aesthetic commentaries reach across a wide historical expanse—from Egyptian and classical sculpture to African American memorabilia, “primitivism,” and the uniforms worn by the often black guards charged with the task of keeping American museums safe and secure. Organized by the Center for Art and Visual Culture, at the University of Maryland, Baltimore County, the exhibition Fred Wilson: Objects and Installations, 1979-2000 consists of more than 100 objects, each configured to re-create sections of Wilson’s original installations. This catalog, the most comprehensive book published on the artist’s work to date, includes essays by exhibition curator Maurice Berger and Jennifer González, an interview with Wilson by Berger, and an annotated list of projects by the artist, as well as numerous color and black-and-white photographs.Item reciprocation(2020-01-20) Charney, Jason; Nohe, Timothy; Visual Arts; Imaging and Digital ArtsThe sculptural works in "reciprocation" repurpose loudspeakers, transforming them from "invisible" aural channels into evocative things to interrogate interpersonal relationships, (mis)communications, and the kinetic phenomenon of sound itself. While recorded audio is used to drive the speakers, the heard sound is an artifact of material activated by subsonic frequencies. As the phenomena of sound and hearing are dependent on reciprocal movement, so is our understanding and reflection of the meaning that sound carries. reciprocation consists of four works: "fate," in which two speakers, one positioned vertically above the other, are united by dozens of parallel red threads; "allegory," in which eight speakers thump against a wall and the restraints holding them up, causing lights hidden within their cones to cast changing shadows around the darkened space; "harmonic curtain," depicting the harmonic series through a network of connected chains; and "trine," a triangle of three freely hanging speakers linked by a mesh of fine chain.