A History of Installation Art and the Development of New Art Forms

Art mirrors life; life returns the favor. How could nineteenth and twentieth century technologies foster both the change in the world view generally called «postmodernism» and the development of new art forms? Scholar and curator Faye Ran shows how interactions of art and technology led to cultural changes and the evolution of Installation art as a genre unto itself a fascinating hybrid of expanded sculpture in terms of context, site, and environment, and expanded theatre in terms of performer, performance, and public.

Autorentext

The Author: Faye Ran, writer, art curator, and Professor of Literature, Media and Cultural Studies, has a Ph.D. from Columbia University in English and Comparative Literature, a Ph.D from New York University in Media Ecology, Culture and Communication, a Masters in Art History from CUNY, and an MBA in Media and Arts Administration from Adelphi University. She is a former Fulbright Scholar in Theater, AFI Screenwriting Fellow, and winner of the Goodman Award for playwriting. Faye has produced over 100 plays, films, videos and multimedia productions, and curated over 200 art exhibitions. Both her academic and creative work reflect an interest in new genres, experimental narrative, and hybridity of form. Faye Ran's previous book with Peter Lang, The Tragicomic Passion, (1994), was a history and analysis of tragicomedy and tragicomic characterization in drama, film and literature.

Zusammenfassung
«Faye Ran's book, 'A History of Installation Art and the Development of New Art Forms', speaks to the essential physical reality of our existence (....). When we tire of web pages, a street with a café, a store, or a museum can be an oasis. This book and its insights into Installation art can tell us how to make the most of it.» (Paul Levinson, Ph.D., Communication and Media Studies, Fordham University, New York)
«By synthesizing disparate and often difficult strands of theory and evidence in an accessible manner, this book is bound to become a key text in the field for scholars and researchers alike. It offers a clear historical overview of artistic developments and particularly recent trends towards Installation art that are often made unnecessarily obscure and fragmented by the competing claims of critics.» (Marius Kwint, Ph.D., Art History Department, Oxford University, England)