Defining Installation Painting: Approaches and Intellectual Contexts that Bridge Dimensions under Tian

Wen Xing

Abstract


Ever since pre-historical period, artists have been breaking dimensional limitations. Such creative artistic efforts could be constructive or deconstructive. While scholars such as Ronald J. Comer try to explore the aesthetical, multicultural, and psychodynamic implications of relevant artistic activities, the definition, basic approaches, and categories of installation painting have never been systematically examined. Unlike previous dimensional innovations in art history, installation painting, as a new genre of art, successfully integrates two-dimensional painting and three-dimensional installations. From the perspectives of art-historical, cultural, and mathematical studies, the present project delineates how “installation painting” is not just a combination of “installations” and “painting.” As the first study of installation painting, this literature summarizes the basic categories of installation painting by analyzing representative works and the artistic approaches associated to them. It is argued that installation painting is more than a simple combination of installations and painting, and that the intellectual exchanges and interactions between variant dimensions as well as those between the reviewer and the artwork create and continue to recreate the concerned installation painting. Through a case study of Tian Xing’s recent works, this project not only defines installation painting but also illustrates its basic approaches and cosmological implications, thus facilitates and promotes both the theoretical study and the artistic creations of installation painting.


Keywords


Installation Painting, Dimension, Yin and Yang, Tian Xing, fractal

Full Text:

PDF

References


Buren, D. (1979). The function of the studio. October, 10, 51-58. DOI: 10.2307/778628

Chen, H.K., & Guan, S.S. (2007). Influences of visual feature information on aesthetics & attention by applying information entropy theory—a case study of poster design. Journal of Design, 12.2, 53-70. Retrieved from:

https://jodesign.org.tw/index.php/JODesign/article/viewFile/110/65

Comer, R.J. (2010). Abnormal psychology (7th edition). New York: Worth Publishers.

Comer, R.J., & Comer, J.S. (2018). Abnormal psychology (10th edition). New York: Worth Publishers.

Dalí, S. (1940). The visage of war. Retrieved from:

https://www.wikiart.org/en/salvador-dali/the-face-of-war-1941

Fung, Y.L. (1976). A short history of Chinese philosophy. New York: The Free Press.

Henderson, L.D. (2013). The fourth dimension and non-Euclidean geometry in modern art (revised ed.). Cambridge, MA: The MIT Press.

Johnston, M. (1995). The book of paper quilling: techniques & projects for paper filigree. New York: Sterling Publishing Co., Inc.

Kant, I. (1783). Prolegomena to any future metaphysics. Retrieved from: http://web.mnstate.edu/gracyk/courses/phil%20306/kant_materials/prolegomena4.htm

Kelly, K. (1994). Out of control: the new biology of machines, social systems, and the economic world. New York: Basic Books, Perseus Books Group.

Mandelbrot, B.B. (1983). The fractal geometry of nature (updated and augmented). New York: W.H. Freeman and Company.

Molderings, H. (2010). Duchamp and the aesthetics of chance. New York: Columbia University Press.

Picasso, P. (1810). Portrait of Ambroise Vollard. Retrieved from:

https://www.wikiart.org/en/pablo-picasso/portrait-of-ambroise-vollard-1910

Reiss, J.H. (2001). From margin to center: the spaces of installation art. Cambridge, MA: The MIT Press.

Sanouillet, M., & Peterson, E. (1989). The writings of Marcel Duchamp. New York: Da Capo Press.

Schwartz, B.I. (1985). The world of thought of ancient China. Cambridge, MA: The Belknap Press of Harvard University Press.

Turner, E.H. (1984). Who is in the brothel of Avignon? A case for context. Artibus et Historiae, 5 (9), 139-157. DOI: 10.2307/1483173

Xing, W. (2016). Toward fractal calligraphy. 2016 International Conference on Materials, Manufacturing and Mechanical Engineering (MMME 2016, pp. 523-528). Lancaster, PA: DEStech Publications.

Xing, W. (2018a, April 20). Mathematical art history as a methodology. Distinguished lecture series, BIT, No. 29, School of Design and Arts, Beijing Institute of Technology, Beijing, China. Retrieved from: http://design.bit.edu.cn/old/xyxw/120552.htm

Xing, W. (2018b, June 29). Picasso and mathematical art history. Distinguished lecture series, No. 36, School of Arts, The Southeast University, Nanjing, China. Retrieved from: https://arts.seu.edu.cn/2018/0608/c17235a226189/page.htm

Yang, G.H., & Zhang, K.L. (1989). Tiehua yishu. Nanjing: Jiangsu Fine Arts Publishing House.

Yang, K.Y. (1987). Zhongguo meishu quanji: gongyi meishu bian 1, Taoci shang. Shanghai: Shanghai People’s Fine Arts Press.




DOI: http://dx.doi.org/10.18533/journal.v9i7.1932

Refbacks

  • There are currently no refbacks.




.............................................................................................................................

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License

.............................................................................................................................

If you find difficulties in submitting manuscript please forward your doc file to support@theartsjournal.org. Our support team will assist you in submission process and other technical matters.

In order to get notifications on inbox please add theartsjournal.org in your email safe list.

Journal of Arts and Humanities (Print) ISSN:2167-9045

Journal of Arts and Humanities (Online) ISSN: 2167-9053

[Journal of Arts and Humanities previously published by MIR Center for Socio-Economic Research, MD, USA. From February 2018 this journal is published by the LAR Center Press, OR, USA]