Framed spaces: photography and temporality in contemporary installation art

"While earlier theorists held up "experience" as the defining character of installation art, few people have had the opportunity to walk through celebrated installation pieces from the past. Instead, installation art of the past is known through archival photographs that limit, define, and frame the experience of the viewer. Monica E. McTighe argues that the rise of photographic-based theories of perception and experience, coupled with the inherent closeness of installation art to the field of photography, had a profound impact on the very nature of installation art, leading to a flood of photography- and film-based installations. With its close readings of specific works, Framed Spaces will appeal to art historians and theorists across a broad spectrum of the visual arts"--Provided by publisher Title Page......Page 4 Contents......Page 6 Acknowledgments......Page 8 Introduction......Page 12 Expanding the Frame......Page 34 The Politics of Representation......Page 83 The Poetics of Experience......Page 127 Camera Obscura......Page 175 Conclusion......Page 212 Notes......Page 220 Bibliography......Page 238 Index......Page 250 Expanding the frame. Installation art in the 1970s The politics of representation. Archive and memory in the work of Renée Green The poetics of experience. Ann Hamilton's installations and photographs Camera obscura. Memory in film and video installations in the 2000s Conclusion. Installation art and memory. A study of the relationship between photography and installation art