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References

Coakley, J. (2008). Sports in society: issues and controversies. Abingdon, Oxford, UK: McGraw Hill.

Honeycutt, B. (2014). The Art of Deception: Illusions to Challenge the Eye and the Mind. Watertown, MA: Imagine.

Kay, T (2009). Fathering through sport and leisure. Oxon: Routledge.

Leepa, A. (2013). The Challenge Of Modern Art. Redditch: Read Books Ltd.

Limbert, T. (2012). Dad's Playbook: Wisdom for Fathers from the Greatest Coaches of All Time. San Francisco: Chronicle Books.

Meecham, P. and Sheldon, J. (2000). Modern Art: A Critical Introduction. New York: Psychology Press.

Pooler, R. (2013). The Boundaries of Modern Art. Bury St. Edmunds: Arena books.

Rüschemeyer, G. (2015). The New Book of Optical Illusions. Ontario: Firefly Books.

Seckel, A. (2004). Masters of Deception: Escher, Dalí & the Artists of Optical Illusion. New York: Sterling Publishing Company.

Staniszewski, M. A. (1998). The Power of Display: A History of Exhibition Installations at the Museum of Modern Art. Cambridge: MIT Press.

Watson, N. J. and Parker, A. (2014). Sport and the Christian Religion: A Systematic Review of Literature. Cambridge: Cambridge Scholars Publishing.

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Annotated Bibliography 3

Suderburg, E. (2000). Space, Site, Intervention: Situating Installation Art. Minneapolis: University of Minnesota Press.

The book by Suderburg (2000) presents a collection of essays written by the reputable art critics, artists, and exhibition curators who discuss the role of installation art in historical and modern art context. Particular attention is specifically being paid to reviewing installations as the communication artistic medium to address the matters of class and cultural identity, sexuality, gender, and overall relation between art and space in today’s visual culture environment. As it is explained by the author in the introductory note, the aim of the book is to place the concept of installation into the wider sphere of meanings, architecture, cyberspace, governmental and non-governmental activism, and environmental action which might be supported and reinforced by art in any of its’ forms (Suderburg, 2000). The authors refer to the examples of installation ranging from the Neolithic stones up to modern video presentations and 3D projects highlighting the artistic power of such form of presentation due to ability of installations to grasp the viewer into the all-around environment of the modified space. The goal of the study hence consists in investigating by the use of various methodologies and through the broad scope of perspectives of the contributors how installation art was modifying depending on the specific social, political, and cultural factors. The first two chapters analyses the theoretical background of the concept of installation and the site-specific art at large, being followed by the more detailed investigations of the historical and modern installation practices in other chapters. Some authors focus on distinguishing the meaning of natural and artificial in installation art while still dedicating much attention to the overall role of installation in the wider artistic context and reviewing the way installations are placed into the museum and public spaces to create new meanings. The importance of this book may also refer to the fact that besides installation as a separate artistic form, installation is a supplementary yet obligatory element of any piece of art because it relates to the way is presented in a particular space or site (Suderburg, 2000). In this aspect, the book refers to the earlier study by Staniszewski who analyses how the “power of display” is used by the curators and exhibition planners at one of the most influential modern museums, the MOMA museum in New York. The author similarly reviews the history of the installation-based art yet approaches it from the perspective where such art is considered to primarily play the supplementary and the meaning-reinforcing role. The alternative view on installations is offered by Meecham and Sheldon (2000) who refers to the examples of the exhibitions where installations were aimed to play a role of the temporary objects as the new type of art which was not supposed to be museumized revealing hence another perspective presented in the book by Suderburg (2000). Therefore, it would be fair to argue that the fact that the book consists of many different publications allows analyzing the artistic and conceptual phenomenon of installations from multiple angles and perspectives.

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Annotated Bibliography 2

Kay, T (2009). Fathering through sport and leisure. Oxon: Routledge.

The books allows better analyzing the individual parenting style through engaging children into the joint sport activities and leisure. Moreover, it is written in such a way that the book is both academic and entertaining and may be easily understood by the wide audience even with any theoretical background on the topic of fathering. This is mainly achieved through the comprehensive and well elaborated structure where the first chapter is of introductory and scope framing nature and outlines the historical issues of fathering explaining how they are reflected in today’s practices. Chapter three is written by Jay Coakley who discussed the role of sport n upbringing of children and how the common engagements make father-children relationships healthy and productive. Some ideas resonate with another hallmark study by the author titled Sports in Society: Issues and Controversies where Coakley (2008) presents the theoretical concepts of the sociology of sport and explains the social function of sport through the lens of such controversial perspectives as religious, fathering, and cultural diversity. Kay (2009) also raises the issue of the implications and the role of so called “non-traditional” fathers in several books chapters which are dedicated to the non-resident fathers and fathers in divorce as well as other kind of fathers who, for example, are utterly religious and build their relationships with children through the lens of the Christian religious paradigm. This is an intriguing angle to assess the role of sport in the upbringing especially considering the changing social structures of today. These chapters strongly contribute to the existing studies on sports and religion like, for example, the book by Watson and Parker (2014) where the authors provide the critical review of the recent literature on the link between sports and religion from both the Protestant and Catholic perspectives. Besides, by offering both the academic and practical case studies overview within the framework of the qualitative research, the book by Kay (2009) naturally fits and contributes to the narrow field of studies focused on exploring parenting at large and fathering in particular through the link to sport activities. By stressing the importance of listening to children and paying regard to the gendered peculiarities of the relationships between a father from one side and a daughter or a son from another side, Fathering through sport and leisure resonates with the symbolism of the book by Tom Limbert (2012) where the author collects the quotes from the greatest sport coaches about leadership and apply them to fathering practices to show how much parenting as such resembles good sport coaching. While the book is an interesting contribution to the field of studies on fathering and leisure, the fact that it is composed of the separate chapters prepared by the different authors makes it difficult to clearly position this research especially considering the overlaps and sometimes even contradictions in judgments and arguments by the authors. This is a positive aspect to understand the complexity of the issue discussed, yet is still confusing what means that the structure and probably even the range of essays may be reconsidered for the new editions.

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Annotated Bibliography 1

Al Seckel (2004). Masters of Deception: Escher, Dalí & the Artists of Optical Illusion. New York: Sterling Publishing Company.

The book by Al Seckel (2004) on optical illusions stands out of the other similar publications, which merely present the collection of the most renowned optical illusions works. Seckel not only presents such works by author with the relevant analysis and overview, but also provides his analysis and conclusions on the observations of why and how people react to such illusions. The whole book is focused on analyzing how the brain interprets signals and signs based on the analysis of the particular works. Seckel argues that perception is a mystery and it is an exciting task to learn how the thousands of small signals are shape into the deceitful images. Therefore, the book is a comprehensive academic and qualitative study on the human perceptual systems providing the valuable insights for the modern art performers. Seckel (2004) stresses that the effect optical illusions have on people is “very primal” meaning that it does not depend on their age, level of intelligence, cultural, educational, or artistic backgrounds. At the same time, the ease of use optical illusions to get the impressionist impact on a viewer shapes what Leepa (2013) calls the challenge of optical illusions in modern art. The author, hence, debates the possibility to use optical illusions expressing concerns that such technique may deprive the piece of art of the real depth and the spectator of the deep artistic experience. At the same time, Seckel (2004) argues that artistic depth was never the aim of the optical illusions creators who were most interested in exploring the scientific aspect of such works and show how the visual systems of human body and brain may be misled. In this regard, it might be interesting to read a brief not on optical illusions art or opt art as it is also called provided by Pooler (2013) in his book The Boundaries of Modern Art where the author traces the artistic origins of op art back to Bauhaus movement and establishes its links to the Kinetic art. In his turn, Seckel (2004) explains the artistic nature of op art by anaysing its history and role in Western art since the 16th century. The author reviews the works of 20 the most renowned op artists including among others Giuseppe Arcimboldo, Salvador Dali, Jos De Mey, Scott Kim, and Roger Shepard with the brief biographical note and explanation of every work published in the book what proves the long lasting history of optical illusions in art. At the same time, it is nevertheless important to refer to the books, which are more like the catalogues of the optical illusions in art ranging from the paintings to photography and installations. The most interesting collections in this regard are published by Honeycutt (2014) and Rüschemeyer (2015). Such books may be studied as the complementary visual materials to better understand the explanations outlined by Seckel regarding the nature of optical illusions.

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final work 4

This is just the previous installation works mentioned above. It aims to expose social topics such as marine environmental protection, plastic waste recycling and so on.

I hope to have a chance to combine the manuscripts to improve a set of better installation works with this one.

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final work series 3

This is my manuscript for the installation art. Due to the limitation of space time, I have not been able to complete the finished installation product. I look forward to the opportunity to perfect it in the future.

This is actually the upgrading of the previous works, taking into account the interaction between artificial art and environmental measures.

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Installation Art

Installation art is a type of Western contemporary art that emerged in the 1970s. The installation art mixes a variety of media to create deep and/or conceptual experiences in a particular environment. Installation artists often use the space of the exhibition hall directly. Many people trace the roots of installation art to earlier artists such as Duchamp, who used off-the-shelf objects rather than traditionally crafted sculptures.

Personally, I think the charm of installation art lies in the communication between the installation works in the exhibition hall and the exhibitors. No matter the kind of communication, it seems to me to be meaningful, even if it is just a group photo.

In addition, the inclusiveness of the materials for installation art is also a major reason for attracting me. I like the effect of friction between different materials, which means that every attempt can yield a different experience. This is the unique charm of modern art.

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Related books for theme three

This theme explores the work of installation art in the context of modern history and modern art.

Combining art and space, and comparing the products of artificial art and natural art, it also reflects on whether the installation art is placed in a specific environment would have a more fresh meaning.

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Final work － theme two

The base material of the object is cotton fabric, which is easy to color and facilitate the collage of different materials. This is the first time I tried the related collage, looking forward to a greater progress next time.

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