Installation Art (1966-1970 CE)

Question 1

Narcissus Garden

Answer 1

1,500 shimmering balls that create an infinite reflective field that repeats and distorts the image of the viewer, the architecture, and the landscape
Size of each sphere is similar to a fortune-teller’s crystal ball
During the opening week, the artist acted as a street merchant and sold the mirror balls while distributing flyers for good reviews of them (she drew attention to her “exotic heritage” by wearing a kimono)
The monetary exchange underscored the economic system embedded in art production, exhibition, and circulation
Interpreted as a self-promotion and a protest of the commercialization of art
Re-created in different locations in different, more expensive materials (which erases the social critique of the price of art)
Based on the story of Narcissus
Critiques the use of social media to capture moments instead of living in them

Question 2

Narcissus Garden IDs

Answer 2

Yayoi Kusama
1966 CE
Mirror balls

Question 3

Spiral Jetty

Answer 3

Water level changes whether it’s revealed or hidden
Site is based on the blood-red color of the water (due to bacteria and algae) and the connection with the primordial sea
Anti-pastoral and industrial elements from a nearby historical site
Exposed to the elements and is destroyed by the more visitors who see it
Meant to remain in a “state of arrested disruption and not be kept from destruction”

Question 4

Spiral Jetty IDs

Answer 4

Utah, US
Robert Smithson
1970 CE
Earthwork