The Nicholas Zurbrugg chapter: Installation art- Essence and Existence aims to highlight how installation art has changed and developed over time. Nicholas Zubrugg presents almost a paradoxical look at contemporary and traditional installation . He allows the reader to question what is their perspective of a valid installation and makes suggestions in regards to this. Zubrugg makes it clear though that installations inaugurate an interactive relationship between the viewer and the artists work.
The chapter begins with a focus on installation space and how it is used. I noted there was then a sudden shift in the writers perception of the space dictating art. I found this jump too sudden and became quite confused. It is then closely followed by a letter to Nancy Underhill stating that “If one chose to open the door, the illusion collapsed suddenly into a world of objects”- p 24
I was intrigued by this quote as it brought up a key component in installation, being that the audience has the choice to accept the illusion or to potentially destroy it.
In the chapter, Zubrugg holds a great focus on the space an installation is held. This is made quite clear when he states: “Its existence as an installation responding to a particular spatial or environmental context determines its specific aesthetic essence as installation art. p 26
Zubrugg considers the origins of different kinds of contemporary installation art and shows the evolution of installation. He makes relevant links between avant-guarde and contemporary artists showing the growth of installation and what it has developed into. Prominent artists from both periods are mentioned. The contemporary artist John Cage stands out as Zubrugg uses him to put forward the idea of contemporary installation involving more kinetic movement. This literal action involves the audience not only physically but mentally. This idea is contrasted to traditional artists such as Duchamp, who he rightly names second hand artists, who use the essential incarnation as installation. He makes the point that these installations evoke actions in figurative circumstances.
He also notes that there is something “unsatisfactory about installations which simply exploit a kind of second-hand Duchampian shock value”.- p 30 This quote emphasises the growth of installation since the 19th century.
The chapter, Installation Art- Essence and Existence highlights the importance of not only the installation space but the importance of the viewer. The whole chapter works together well in the respect of contrasting the difference of contemporary installation and traditional. Although the beginning of the article seems to be disjointed, it inevitably enhanced my understanding of the development of installation.
Reference: Zurbrugg, Nicholas, Installation Art- essence and existence, What is insallation? An anthology of writings on Australian installation art/ ed by Adam Geczy and Benjamin Genocchio. Sydney: Power publications, 2001 p 25-31
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