The essay "Installation Art as the Newest Form of Expression" analyzes the form of expression in contemporary art, the Installation Art. The sublime element is, by its very nature, shapeless and indefinable and therefore cannot be placed within a specific visual form, the visual form, by its very nature, must suggest some element of the sublime. Every visible form is capable of suggesting some deeper meaning to an audience at varying levels of meaning regardless of the intentions of the artist. This is because art is not the static element it was once perceived to be. Instead, it is a constant interaction between the artist and the viewer, between what the artist created on the canvas and how the viewer interprets these forms based on his or her own experiences, understandings and context. The postmodern movement, with its emphasis on illuminating the sublime, brought these ideas to the forefront leading eventually to today’s trend to engage more of the viewer’s senses in this interaction. “The political and the aesthetic are inseparable, simultaneously present, faces of the postmodern problematic. Understanding this concept of the eternal relationships between content and sublime, artist and audience, is essential to understanding today’s movement toward installation art through artists such as Damien Hirst, Jenny Holzer and Sarah Lucas. One of the charges to today’s artists is to discover how to produce ‘incommunicable statements’ to modern society without resorting to the conformism.
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The essay analyzes the Installation Art as the Newest Form of Expression. Current art practices have veered away from the traditional expressions of two-dimensional paintings that appeal to the eye or alabaster sculpture that appeal to the senses to more interactive pieces…
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