installation lecture FINAL

How is Art Made?
Installation Art

Art Appreciation

TribuT

Made of phones and phone chords, this art installation by Jean
Luc Cornec began in 1989. The installation consists of 32 sheep
that ring from time to time and continue to show up in odd
places all over the world.

Eight Sheep
2015
Metal, mesh wire, used
telephones, telephone receivers
and telephone cables

Jean Luc Cornec

My working process consists of a playful combination of
elements, objects, words and letter – a play with concepts
and perception. At first sight, the grey telephones, today
out of use, don’t have anything to do with the head of a
sheep. I cannot say when and how this association came to
me; it only works when combining the telephone with the
cables as wool, the earphones as feet and the
individualistic expressions of the different sheep. Even if I
was afraid of the overly humorous aspect of my initial idea,
I continued shaping it and finally I was surprised to realize
that during the artistic process new options had emerged;
for instance, I had never thought that the ringing of the
phone could remind of the “baa” of the sheep.

Two Sheep The idea was, in the beginning, formal-aesthetic, but open
2015 for different entries, other approaches or possible
interpretations. The sheep is a kind of archetype, with
Metal, mesh wire, used telephones, telephone various significations in different religions, languages and
receivers and telephone cables cultures. When Dolly was born in 1996, the work was
charged with another meaning; in a way, the work was
“reloaded” on different levels. It became a comment on
the relation between the original and the copy. When I
realized that the film Blade runner was based on the
novel Do Androids Dream of Electric Sheep? by Philipp K.
Dick, the installation became a materialization of the
ecological question. And finally, thinking about Wikileaks
and the NSA scandal, the accent is put on the importance
of communication and interconnectedness.

Santiago Sierra

Haus im Schlamm
(House in Mud)
2005
Mud in the Kestner Gesellschaft

Santiago Sierra

His most recent project, the installation Haus im Schlamm
(House in the mud) for the Kestner Gesellschaft, is an
intensely site-specific work which links the institution's
history with the history of the city of Hanover.

Using the origins of Lake Masch, which was created in the
middle of the city as part of a government employment
program in the nineteen-thirties, Sierra addresses the
question of what work is really "worth," a recurring theme
in his works which is especially pertinent today. To explore
this idea, Sierra often hires underprivileged individuals
who, in exchange for money, are willing to undertake
pointless or unpleasant tasks, such as transporting mud
from one location to fill up a gallery space.

Kestner Gesellschaft (Kestner Society) is an art gallery in
Hanover, Germany, founded in 1916 to promote the arts.

Haus im Schlamm (House in Mud)
2005

Mud in the Kestner Gesellschaft

Andy Goldsworthy

Alder branches form a bridge in a
Dumfriesshire, Scotland, stream.
(Jan. 17, 2014)

Andy Goldsworthy

Andy Goldsworthy is an extraordinary, innovative British
artist whose collaborations with nature produce uniquely
personal and intense artworks. Using a seemingly endless
range of natural materials—snow, ice, leaves, bark, rock,
clay, stones, feathers petals, twigs—he creates outdoor
sculpture that manifests, however fleeting, a sympathetic
contact with the natural world.

Before they disappear, or as they disappear, Goldsworthy,
records his work in superb color photographs.

Yayoi Kusama

Aftermath of
Obliteration of Eternity.
2009

Yayoi Kusama

Yayoi Kusama had a breakthrough in 1965 when she
produced Infinity Mirror Room—Phalli’s Field. Using
mirrors, she transformed the intense repetition of her
earlier paintings and works on paper into a perceptual
experience that often alters reality.

Over the course of her career, the artist has produced
more than twenty distinct Infinity Mirror Rooms.

Left: Installation view of Infinity Mirror Room—Phalli’s Field, 1965,
in Floor Show, Castellane Gallery, New York, 1965. Sewn stuffed
cotton fabric, board, and mirrors.

Below: Installation view of All the Eternal Love I Have for the
Pumpkins, 2016. Wood, mirror, plastic, acrylic, LED.