Developments in 3 Dimensional Art in 20th Century
Developments in Three Dimensional Art in the 20th Century Three dimensional art works went through a heavy period of transition through the 20th century. At the start, sculpture could be summed up in Johann Gottfreid von Herder’s consideration of sculpture as “a harsh reality.” Unlike painting and the other traditional media, sculpture was being redefined, both formally and technically. Painting, despite the many innovations and explorations that occurred in the 20th century, was still oil and pigment put on a flat surface. But sculpture, rather 3 dimensional arts, became so much more dynamic and expansive. There was no requisite to make 3 dimensional artworks to be made of traditional materials like stone, bronze or wood; but instead, they could-and were-made of anything. One major development was installation art. Installation art was three dimensional works that was meant to engage and transform the exhibition space or whatever is in proximity to the work itself. Land art is the outdoor equivalent of this phenomenon. Installation can be considered coming into real prominence during the 1970’s, but has its roots all the way back with Marcel Duchamp’s readymade sculptures The genre can include traditional and everyday materials, as well as new media such as video, audio, and performance. Before the nomenclature of installation was coined, these types of works were also called environments, project art, and temporary art. Its primary focus is to have the work of art exceed traditional media through the escaping of flat, square frames, and pedestals with isolated objects. Instead, it attempts to immerse the viewer, the environment, and all its other adjunct factors in as a part of the art. For this reason, most installations are considered to have no definite specific media. Instead, it is said that time and space are the only persistent elements of this type of work. The overwhelming element of installations developed from Richard Wagner’s revival of