Allison Smith — Installation


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Allison Smith

Allison Smith, an artist, curator, and producer of participatory projects, is associate professor and chair of the sculpture program at California College of the Arts.

Installation is an act, a time period, and a period room.

Installation refers to the act of setting up an art show, similar to set dressing. When you see a sign that reads, “Closed for Installation,” it means that things are happening backstage, behind the scenes, and out of public view. You may see caution tape or velvet-covered ropes and stanchions, or the glass door of the gallery might be curtained with white paper while the installers are setting the stage for your experience of art. Often the artist will fly in for the install but not always. Caring curators and gallery proprietors work with preparators on all the prep work that goes into arranging the artist’s props and/or products, framing the art and the artist. Installation is physical, contextual, and potentially incriminating. A cast of characters perform each role in the preparing, positioning, connecting, and arranging of the works for maximum impact and flow, constructing the walls, mounting the works, adjusting the lighting, managing the art, and fixing it into place. It is art work. Installation is about taking the artist’s output and, with input, giving it center stage. Installation is an investment that affects the audience’s investment in the artwork and the instillation of faith in art, its affects; it’s special effects. If the dealer has put up money for production costs, there may be more to the setup, in terms of shared property, proppery, or puppetry. The artist is dealing with the unveiling. Either artist or dealer may feel put upon, but that’s the deal. It’s happening offstage, appropriately.

Installation is also the period of time between shows, the intermission, so the gallery can take on a different character. It can take a week or a month, more or less. It is the time after the closing and before the opening. It overlaps with deinstallation, a time of dismantling the previous exhibition, distilling it, and discussing how it went. It is the rehearsal and delivery period, in which art exists as potential and prototype. Negotiations take place regarding whether the works work or not as well as their place in the space. Exchanges are made; deals are cut. Some works are destined to be understudies and don’t ever make it onstage. Critics, collectors, and consultants can arrange private previews. Websites are dusted off, e-blasts are blasted, Facebook posts are posted, tweets are Twittered, and résumés are regularly updated before regular hours resume. Gallery receptionists rehearse their lines, readying to receive guests at an opening reception and remain throughout the show. They can gauge viewers’ receptiveness to the work and send radio signals to the dealer or artist; they can also set the tone. Sometimes there is a soft opening to cushion the otherwise hardness of the opening reception, which is like a grand opening but without balloons, giveaways, searchlights, or fireworks. And usually there isn’t wine served in stemmed glasses like you see in the movies. That only happens in a dealer’s office and greenroom. And it can happen any time, not just during installation and opening time.

Finally installation is an art form in which the artist, often a sculptor, can take up an entire room. It is a way that artists install themselves temporarily in museums, gallery spaces, and other territories. Installations are displacements to other worlds, real or imagined, often taking up the politics of institutions, sites, contexts, and audiences. Installations are like outposts for self-stationed artists. Warning: sometimes the artist will be present, and you may have awkward interactions as you might with costumed interpreters at a living-history museum. But usually they are not. Instead you are the subject on view in the spotlight. You cross your arms, walking around slowly, but instead of staring at a sculpture, the installation stares at you. You may feel as though the artist is setting you up for something, putting you on. Why else would you be asked to take off your shoes? Installation is the stage set and the scenery, and if you are up for it, you are the performer. Some performances must be done in socks. Just picture yourself in the comfort of your own living room. That is an installation too.

For Further Reference

Ilya Kabakov, Incident at the Museum or Water Music, 1992. Ronald Feldman Fine Arts, New York.

Gregor Schneider, TOTES HAUS u r, 1985–2001.

Peter Fischli & David Weiss, Empty Room, 1995–96. Walker Art Center, Minneapolis.

Pepón Osorio, Badge of Honor, 1995.

Yayoi Kusama, Compulsion Furniture (Accumulation), 1964.

Lucas Samaras, Mirrored Room, 1966.

Mark Dion, The Department of Marine Animal Identification of the City of New York (Chinatown Division), 1992.

Sandy Skoglund, Radioactive Cats, 1980.

Liza Lou, Kitchen, 1991–95.

James Turrell, Pleiades, 1983. Mattress Factory, Pittsburgh.

Sam Durant, Pilgrims and Indians, Planting and Reaping, Learning and Teaching, 2006.

John Bock, Klütterkammer, 2004. ICA London.

Theaster Gates, Tea Shack, 2009. Whitney Museum of American Art, New York.

ai weiwei, Sunflower Seeds, 2010. Tate Modern Turbine Hall, London.

Olafur Eliasson, The Weather Project, 2003. Turbine Hall, Tate Modern, London.

Yves Klein, Le Vide (The Void), Iris Clert Gallery, Paris, April 1958.

Arman, Le Plein (Full Up), Iris Clert Gallery, Paris, 1960.

Mike Kelley, Day is Done, 2005–6.

Mike Nelson, A Psychic Vacuum, 2007. Essex Street Market, New York.

Kurt Schwitters, Hannover Merzbau, ca. 1923–37.

Edward and Nancy Kienholz, Sollie 17, 1979–80.

Thomas Hirschhorn, Gramsci Monument, 2013. Forest Houses, Bronx, New York.

Ann Hamilton, Indigo Project, 2000.

See Also

Prop — Allison Smith

Collecting — RoseLee Goldberg

Virtuosity — Simon Dove

Installation view, “Allison Smith: Rudiments of Fife & Drum,” The Aldrich Contemporary Art Museum, Ridgefield, CT. Photo: Chad Kleitsch. Courtesy of The Aldrich Contemporary Art Museum.

Theaster Gates, Dorchester Projects, Chicago, 2012. © Theaster Gates. Photo © Sara Pooley. Courtesy of White Cube.

Thomas Hirschhorn, Gramsci Monument, 2013. School supplies distribution by Forest Resident Association, Forest Houses, The Bronx, New York. Courtesy of Dia Art Foundation. Photo: Romain Lopez.

Edward & Nancy Reddin Kienholz, Sollie 17, 1979–80. Mixed-media assemblage, 10 x 28 x 14 ft. © Kienholz. Courtesy of LA Louver, Venice, CA.

Liza Lou, Kitchen, 1991–96. Glass beads, wood, wire, plaster, artist’s used appliances, 168 square feet. Collection of the Whitney Museum of American Art, New York. Photo: Tom Powell. Courtesy of the artist.

Pepón Osorio, Badge of Honor (detail), 1995. Mixed media and video installation, 144 x 322 x 144 inches. Courtesy of Ronald Feldman Fine Arts, New York.

Gregor Schneider, u r 1 u 14 (Schlafzimmer), Rheydt, 1986–88, part of HAUS u r, 1985–. Room within a room, chipboard on steel and wood with posts, doors, window, lamp, radiator, gray carpet, white walls and ceiling, lead in the ground. © Gregor Schneider / VG Bild-Kunst Bonn.

Olafur Eliasson, The weather project, 2003. Monofrequency lights, projection foil, haze machines, mirror foil, aluminum, scaffolding, ca. 27 x 22 x 155 meters. Tate Modern, London, 2003. Photo: Andrew Dunkley and Marcus Leith. Courtesy of the artist; neugerriemschneider, Berlin; and Tanya Bonakdar Gallery, New York. © Olafur Eliasson.

Paul Chan, Waiting for Godot in New Orleans, 2007. Photo: Frank Aymami. Courtesy of Creative Time.

Andrea Fraser, Projection, 2008. Still from a 2-channel HD video projection installation. © Andrea Fraser. Courtesy of the artist and Galerie Nagel Draxler.

David Levine, Bystanders, 2015. Installation view, Gallery TPW, Toronto. Performer: William Ellis. Photo: Guntar Kravis.

VALIE EXPORT, TAPP und TASTKINO (Tap and touch cinema), 1968. © 2016 Artists Rights Society (ARS), New York / Bildrecht, Vienna. Photo © Werner Schulz.

My Barbarian (Malik Gaines, Jade Gordon, and Alexandro Segade), Broke People’s Baroque Peoples’ Theater, 2010. Courtesy of Alexandro Segade.

Richard Maxwell, Neutral Hero, 2012. The Kitchen, New York. From left: Janet Coleman, Bob Feldman, Lakpa Bhutia, Andie Springer, Jean Ann Garrish. Photo © Paula Court.

Miguel Gutierrez and Tarek Halaby in Gutierrez's Last Meadow, 2009. Dance Theater Workshop, New York, September 2009. Photo © Ian Douglas.

Mac Wellman, Muazzez, 2014. Performer: Steve Mellor. Chocolate Factory Theater, Queens, New York (a co-presentation with PS 122). Photo: Brian Rogers.

Janine Antoni, Yours Truly, 2010. Ink on paper, 5 7/8 x 8 1/2”. © Janine Antoni. Courtesy of the artist and Luhring Augustine, New York.

Yvonne Rainer, score for “Trio B: Running,” from The Mind Is a Muscle, 1966–68. Graphite and ink on paper, 8 5/16 x 7 5/16". The Getty Research Institute. © Yvonne Rainer.

Susan Leigh Foster, The Ballerina’s Phallic Pointe, 2011, a performed lecture in the series Susan Foster! Susan Foster! Three Performed Lectures, produced by The Pew Center for Arts & Heritage and performed at the Philadelphia Live Arts Studio, 2011. Photo: Jorge Cousineau.

Opening performance of the exhibition “Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing,” Walker Art Center, Minneapolis, 2008. Brown improvises movements across a large piece of paper on the Medtronic Gallery floor, holding charcoal and pastel between her fingers and toes, drawing extemporarily. Photo: Gene Pittman for Walker Art Center, Minneapolis.

Allora & Calzadilla, Sediments Sentiments (Figures of Speech), 2007. Mixed-media installation with live performance and pre-recorded sound track, dimensions variable. © Allora & Calzadilla. Courtesy of Lisson Gallery.

Martha Rosler, Meta-Monumental Garage Sale, The Museum of Modern Art, New York, 2012. Courtesy of the artist.

Lucinda Childs, Pastime (1963), 2012, performed by Childs at Danspace as part of Platform 2012: "Judson Now." Photo © Ian Douglas.

Siobhan Davies and Helka Kaski, Manual, 2013. Photo © Alan Dimmick. Courtesy of Glasgow Life.

“Performance Now,” curated by RoseLee Goldberg. Installation view, Kraków Theatrical Reminiscences, Poland, 2014. Photo: Michal Ramus. Courtesy of Independent Curators International (ICI).

Steve Paxton, Intravenous Lecture (1970), 2012. Performed by Stephen Petronio with Nicholas Sciscione. Part of Platform 2012: “Judson Now,” curated by Judy Hussie-Taylor, Danspace, New York. Photo © Ian Douglas.

Installation view, “Dance Works I: Merce Cunningham—Robert Raschenberg,” curated by Darsie Alexander at the Walker Art Center, Minneapolis, 2011. Photo: Gene Pittman for Walker Art Center, Minneapolis.

Chief Dalcour and the Serenity Peace Birds in “Public Practice: An Anti-Violence Community Ceremony,” curated by Delaney Martin and Claire Tancons for New Orleans Airlift, October 25, 2014. Photo: Josh Brasted.

Ain Gordon and David Gordon, The Family Business, premiered 1993. Performers: David Gordon, Ain Gordon, Valda Setterfield. Photo: Andrew Lichtenstein. Courtesy of the photographer and Pick Up Performance Co(s).

Hotel Modern, Kamp, 2005. Photo: Herman Helle.

Janine Antoni, Anna Halprin, and Stephen Petronio, Rope Dance, 2015. Photo © Hugo Glendinning. Courtesy of the artists and The Fabric Workshop and Museum, Philadelphia.

Sarah Michelson, Devotion Study #1—The American Dancer, 2012 Whitney Biennial, February 26, 2012. Photo © Paula Court. Performers: Eleanor Hullihan and Nicole Mannarino.

Ralph Lemon, How Can You Stay in the House All Day and Not Go Anywhere?, 2009. Archival print from original film. © Ralph Lemon.

Pope.L, The Great White Way, 22 miles, 9 years, 1 street (Whitney version), 2001. © Pope.L. Courtesy of the artist and Mitchell-Innes & Nash, New York. Photo: Lydia Grey.

Iannis Xenakis, Terretektorh, Distribution of Musicians, 1965. Collection famille Xenakis. Courtesy of the Iannis Xenakis Archives. © Iannis Xenakis.

Lisa Bielawa, Chance Encounter, premiered 2007. Co-conceived with Susan Narucki. Photo: Corey Brennan, 2010, Rome.

Claudia La Rocco, 173-177 [or, Facebook Is Inescapable], 2013. Headlands Center for the Arts. Courtesy of José Carlos Teixeira.

Pina Bausch and the Tanztheater Wuppertal, Palermo, Palermo, Brooklyn Academy of Music, 1991. Photo: Maarten Vanden Abeele.

Tomás Saraceno, Observatory, Air-Port-City, 2008. In “Psycho Buildings: Artists Take on Architecture,” curated by Ralph Rugoff, Hayward Gallery, London. Courtesy of the artist and Tanya Bonakdar Gallery, New York.

Christian Marclay, Chalkboard, 2010, paint and chalk, 210 x 1,045 inches. Installation view, “Christian Marclay: Festival,” 2010, Whitney Museum of American Art, New York. Collection of the artist; courtesy of Paula Cooper Gallery, New York. Photo: Christian Marclay.

Steven Schick at the “Peacock” in the Paul Dresher Ensemble Production of Schick Machine, 2009, by Paul Dresher, Steven Schick, and Rinde Eckert. Mondavi Center, UC Davis, Davis, CA. Photo: Cheung Chi Wai.

Ralph Lemon in An All Day Event: The End, part of Platform 2012: “Parallels.” Danspace, New York. Photo © Ian Douglas.

Installation view, “Allison Smith: Rudiments of Fife & Drum,” The Aldrich Contemporary Art Museum, Ridgefield, CT. Photo: Chad Kleitsch. Courtesy of The Aldrich Contemporary Art Museum.

David Levine, Habit, 2012. Installation view, Luminato Festival, Toronto, 2011. Photo: David Levine.

Meredith Monk, Shards (1969–73), 2012. Part of Platform 2012: “Judson Now,” curated by Judy Hussie-Taylor, Danspace, New York. Photo © Ian Douglas.

Berlin, Bonanza, 2006. A documentary project focusing on Bonanza, Colorado, population 7. © Berlin.

Gob Squad, Kitchen (You’ve Never Had It So Good), 2007. Photo © David Baltzer / / Agentur Zenit Berlin.

Kit Galloway and Sherrie Rabinowitz, Hole in Space, 1980. On screens in front of Lincoln Center and The Broadway department store in Los Angeles, passersby could see and talk to their counterparts on the opposite coast, and many “reunions” were quickly set up, in this early example of video conferencing. Courtesy of the Sherrie Rabinowitz and Kit Galloway Archives.

Hans Haacke, News, 1969/2005. Installation view, “State of the Union,” Paula Cooper Gallery, New York, 2005. © Hans Haacke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Courtesy of the artist and Paula Cooper Gallery, New York.

Pauline Oliveros, circa 1967. Courtesy of the CCM Archive, Mills College, Oakland, CA.

The Builders Association, Elements of Oz, 2015. Photo: Gennadi Novash. Courtesy of Peak Performances @ Montclair State University.

Ain Gordon, A Disaster Begins, 2009. Veanne Cox. Here Arts Center, New York. Photo: Jason Gardner. Courtesy of the photographer and Pick Up Performance Co(s).

Hopscotch, 2015. Directed by Yuval Sharon. Produced by The Industry, Los Angeles. Photo: Dana Ross.

The Wooster Group, BRACE UP!, 1991. Directed by Elizabeth LeCompte. Anna Köhler (on monitor) and Willem Dafoe. Photo © Mary Gearhart.

Tania El Khoury, Jarideh, 2010.

Joanna Haigood and Charles Trapolin, The Monkey and the Devil, performance installation, 2011. Performers: Matthew Wickett, Sean Grimm, Jodi Lomask. Photo: Walter Kitundu.

Jarbas Lopes, Demolition Now, in “SPRING,” curated by Claire Tancons for the 7th Gwangju Biennale, Gwangju, 2008. Photo: Akiko Ota.

Lisa Bielawa, Crissy Broadcast (part of Airfield Broadcasts), San Francisco, 2013. Photo: James Block.

Erwin Wurm, One Minute Sculpture, 1997/2005. © Erwin Wurm. Courtesy of the artist and Lehmann Maupin, New York and Hong Kong.

Ethyl Eichelberger as Minnie the Maid, 1981. Photo: Peter Hujar. The Peter Hujar Archive. Courtesy of Pace MacGill and Fraenkel Galleries.

Wu Tsang with Alexandro Segade, Mishima in Mexico, 2012. Color HD video, 14:32 minutes. Courtesy of the artists, Clifton Benevento (New York), Michael Benevento (Los Angeles), and Isabella Bortolozzi (Berlin).

Young Jean Lee, Untitled Feminist Show, 2012. Baryshnikov Arts Center, New York, 2012. Hilary Clark, Regina Rocke, and Katy Pyle. Photo: Julieta Cervantes.

Romeo Castellucci, On the Concept of the Face Regarding the Son of God, 2010. Philadelphia Live Arts Festival, 2013. Photo: Kevin Monko.

Jérôme Bel, Le dernier spectacle (The last performance), 1998. Photo: Herman Sorgeloos.

Troubleyn / Jan Fabre, Mount Olympus, 2015. Performance lasts 24 hours. Photo © Wonge Bergmann for Troubleyn / Jan Fabre.

Siobhan Davies Studios, Roof Studio, London. Photo: Peter Cook.

Emily Roysdon, Sense and Sense (a project with MPA), Sergels torg, Stockholm, Sweden, 2010. Courtesy of the artist.

David Lang’s home studio. Photo © Jorge Colombo.

Marcel Duchamp, Bicycle Wheel, 1964 (replica of 1913 original). Wheel and painted wood. Philadelphia Museum of Art. Gift of the Galleria Schwarz d’Arte, Milan, 1964. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2016.

Historical interpreters from Freetown Living History Museum, as part of Allison Smith’s 2008 project The Donkey, The Jackass, and The Mule, with the Indianapolis Museum of Art. Photo: Allison Smith and Michelle Pemberton.

Rimini Protokoll, Situation Rooms, 2013. Photo © Ruhrtriennale / Jörg Baumann.

Jeanine Oleson and Ellen Lesperance, We Like New York and New York Likes Us, 2004. A “wry look back” at Joseph Beuys’s performance with a coyote, I Like America and America Likes Me, René Block Gallery, New York, 1974. Courtesy of the artists.

Christine Hill, Volksboutique Organizational Ventures, 2001. Mixed-media installation, Kunstverein Wolfsburg, Germany. Courtesy of Ronald Feldman Fine Arts, New York.

Andrea Fraser, Museum Highlights: A Gallery Talk, 1989. Performance. Performance documentation: Kelly & Massa Photography. Courtesy of the artist. © Andrea Fraser.

Theaster Gates, Dorchester Projects, Chicago, 2012. © Theaster Gates. Photo © Sara Pooley. Courtesy of White Cube.

John Cage, two pages from 4'33" (original version, in proportional notation), 1952/1953. Ink on paper, 11 x 8 1/2" each sheet. Acquired by The Museum of Modern Art through the generosity of Henry Kravis in honor of Marie-Josée Kravis. © 1993 Henmar Press Inc. All rights reserved. Used by permission of C. F. Peters Corporation. Photo © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.

Yoko Ono, Painting For The Wind, summer 1961. First published in Yoko Ono: Grapefruit (Tokyo: Wunternaum Press, July 4, 1964). © Yoko Ono.

Rosemary Lee, Square Dances, 2011, commissioned by Dance Umbrella. Square Dances took place in four central London squares throughout a day, with different casts in each: 10 children in Woburn Square, 100 women in Gordon Square, 35 men in Brunswick Gardens, 25 dance students in Queen Square. Each performance involved bells, ranging from a huge church bell that struck every minute; to a handmade musical instrument using bells within its barrel structure, created and composed by Terry Mann; to tiny hand bells for the dancers. Photo: Hugo Glendinning.

Dictaphone Group, This Sea is Mine, 2012.

Joanna Haigood and Wayne Campbell, Ghost Architecture, 2004. An aerial dance installation centering on the architectural and social history of the site. Yerba Buena Center for the Arts, San Francisco.

Ann Hamilton, the event of a thread, 2012–13. Park Avenue Armory, New York. Curated by Kristy Edmunds. Photo © Ian Douglas.

Robert Wilson and Marina Abramović, The Life and Death of Marina Abramović, premiered 2011. Park Avenue Armory, New York, 2013. Foreground: Willem Dafoe. Photo: Joan Marcus. Courtesy of Park Avenue Armory.

Richard Maxwell, Neutral Hero, 2012. The Kitchen, New York. From left: Janet Coleman, Bob Feldman, Lakpa Bhutia, Andie Springer, Jean Ann Garrish. Photo © Paula Court.

Ann Liv Young, The Bagwell in Me, 2008. Photo: Scott Newman, Revel in New York.

Xavier Le Roy, “Retrospective,” 2012–. Fundació Antoni Tàpies, Barcelona, 2012. Photo: Lluís Bover. © Fundació Antoni Tàpies.

Ethyl Eichelberger as Minnie the Maid, 1981. Photo: Peter Hujar. The Peter Hujar Archive. Courtesy of Pace MacGill and Fraenkel Galleries.

David Levine, Habit, 2012. Installation view, Luminato Festival, Toronto, 2011. Photo: David Levine.

Rimini Protokoll, 100% Yogyakarta, 2015. Teater Garasi, Yogyakarta, Java, Indonesia. © Goethe-Institut Indonesien / KDIP Viscom.

Bebe Miller Company, A History, 2012. Angie Hauser and Darrell Jones. Photo: Michael Mazzola.