Installation based art is a relatively recent artistic genre, yet it has arguably become one of the most interesting. The broad-ranged, even somewhat difficult to accurately define, genre has been on the rise since its inception and is used to approach countless topics of discussion and thought. Many artists utilize installation art in hopes of providing a unique view or insight to these topics. Installation art often seems to be favored when tackling a certain topic: human relationships such as those with family, home, locations, space, and even more. Such relationships seem to hold a lot of importance in the genre. This paper will attempt to accurately analyze just how these topics are handled. One of the more notable artists to dabble in installation art in the 20th Century is the famed Louise Bourgeois. Louise Bourgeois was a French-American artist who became best known for her installations and sculptures, though she also dabbled in other mediums. She
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Matta-Clark’s unmaking of the suburban house was meant play with the “psychic” power that buildings (homes) held over people. At the time of the artwork’s creations, the American suburb was still held as the dream or goal of many people. This was in part to the image of affluence and success that surrounded owning a home. It was also largely due to the sense of privacy of the suburbs. The idea of a closed off home meant for just you and your family, far from city, completely autonomous and secure, was tempting to many. The fact that it meant you were a success in other people’s eyes was also an appealing bonus (Lee 21-24). The suburban house was supposed to be fixed and unalterable spaces. The public’s view of these houses, as well as their affection for their homes and the powerful link between the two, would be the target of
Matta-Clark’s unmaking of the suburban house was meant play with the “psychic” power that buildings (homes) held over people. At the time of the artwork’s creations, the American suburb was still held as the dream or goal of many people. This was in part to the image of affluence and success that surrounded owning a home. It was also largely due to the sense of privacy of the suburbs. The idea of a closed off home meant for just you and your family, far from city, completely autonomous and secure, was tempting to many. The fact that it meant you were a success in other people’s eyes was also an appealing bonus (Lee 21-24). The suburban house was supposed to be fixed and unalterable spaces. The public’s view of these houses, as well as their affection for their homes and the powerful link between the two, would be the target of