Installation Quotes

I'm in between an installation artist, video artist and photographer. And when you work with nude bodies, you're immediately called a pornographer or a fashion photographer.

My mother photographed Donald Judd in Marfa, Texas, right before he passed away. He was actually the first artist whose work I collected. I just loved the photographs that my mom had done of Donald Judd and the installations in Marfa.

The number of UNIX installations has grown to 10, with more expected.

I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.

Urban design is where the number are and easy size of installation plus the fast lessons to extend out to larger design acreage.

Usually people start with painting and then go on to make installations; my painting came from installation.

I wanted to represent the world as a temporary art installation continuously changing. I wanted to consider it unreal and unfinished, judge and transform it, a possibility that only art gives us.

Sometimes you do a sound installation, and the first day or two it is very exciting. Then you are hearing this every day for a month, and it becomes like a torture.

Globally, you're seeing a big, big trend towards large installations of renewable energies across the world. You are going to see huge installations of wind and solar in places like Africa. These things are going to happen no matter what. They're going to happen for largely non-policy free market reasons even in the United States.

I consider myself fortunate that photography exists, because otherwise I'd be stuck in the tragedy of ephemeralness that can come with installation art.

I became much more interested in plot when I really didn't consider myself a writer anymore. When I was in an art context and I started to do installations, that was when writing of mine almost returned to fiction. Earlier I felt like I didn't have anything to write about, I could only concentrate on the page, I could only concentrate on words.

I think I'm really fortunate to be an installation artist who is heavily invested in photography: I don't have the emotional problems with the loss of work that some installation artists have. The photographs wouldn't exist without the installation... but at the same time, I think I'd kill myself if I only did installations. There's something deeply tragic about doing work that you know is temporal.

Today, I use Linux as my primary OS (on an x86 PC, and on a Thinkpad), and I also use Irix (on an SGI O2). Linux has improved a great deal since I wrote this, specifically with respect to its ease of installation.

Adding hardware to any computer is hard. The reality is, you're sticking in disks, trying to run installers. We do a very sophisticated installation and de-install but it's invisible to the user and happens almost instantaneously.

In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.

Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.

All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.

Colonel Otto, do you have a, perhaps, fuller and more detailed account than your preliminary one of why my Imperial Security building is now largely an underground installation? From a technical perspective.

My background is in painting but in school in the sixties, like many artists of that time, I believed that painting was dead. I began to work in collaboration with other artists in the creation of performances and installation works. Soon after, I started making video and photographic works and in the process became fascinated with the media itself. Before long I was setting things up just for the camera. In l970 I got a dog and he turned out to be very interested in video and photography as well.

The wife picked out ceramic tile for floor covering, not realizing that cost was determined by square foot, not square yard like carpet. Thinking the price was plenty reasonable, she had an extra room of tile ordered for installation. When the bill arrived, it was staggering. She and her husband began a fight that continued all through the construction job. They ended up divorced, but not until she had broken every window.

These missiles [Cruise and Pershing II] represent a new generation of missiles whose deployment will help give NATO first-strike capability. With this first-strike strategy, the West believes it could attack Russian military installations with such effectiveness that serious retaliation would be impossible.

We need to send hundreds of millions of dollars down to our public high schools, vocational colleges, and community colleges to begin training people in the green-collar work of the future - things like solar-panel installation, retrofitting buildings that are leaking energy, wastewater reclamation, organic food, materials reuse and recycling.

If civilians are killed in an attack on a military installation, it is certainly regrettable, but I will not morally blame the I.R.A. for it.

I had been doing wall drawings, but they were always black and white. Then in 1993 I painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life.

Bombing embassies or destroying non-military installations like the World Trade Center is no jihad. “[T]hose who launched the Sept. 11 terrorist attacks not only killed thousands of innocent people in the United States but also put the lives of millions of Muslims across the world at risk. Bin Laden is not a prophet that we should put thousands of lives at risk for.

It's an art installation to put out a collection, with the people behind the scenes who are inventing and creating these designs and making sure they're realized on the catwalk, and just how much hangs on it for the designers. Their livelihoods hang in the balance, as far as whether this year's collection works for them or not, and there are so many people's jobs on the line, as a result of that. I just had no idea.

A [spatial, temporal] work had only to be exhibited in a gallery and then written about and reproduced as a photograph in an art magazine. Then this record of the no longer extant installation, along with accretions of information after the fact, became the basis for its fame, and to a large extent its economic value.

Originally, one of the reasons I was drawn to photography, as opposed to painting or sculpture or installation, is that of all the arts it is the most democratic, in so far as it's instantly readable and accessible to our culture. Photography is how we move information back and forth.

The U.S. needs to control the Middle East, the gateway to Asia. It already has military installations in Uzbekistan.

All sorts of artillery installations, rockets and tank units that are firing on civilians in Kosovo should be neutralized. If that means air strikes, then NATO should carry out air strikes.

I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.

I have a set of images that go around the world in an art gallery installation. Each of them have different audiences, and they kind of each elucidate the subject in a slightly different way, and they ping off of each other.

I have people working together, doing different things: architecture, art installation, photography, publishing, and curatorial works and design.

Take a look at the Supreme Court decision that just authorized an effort by U.S. claimants against Iran for terrorist acts. What are the terrorist acts? The terrorist acts are bombings of U.S. military installations in Lebanon and Saudi Arabia, which Iran is claimed to have something to do with. Well suppose they did. That's not terrorism. I mean if we have a military base in Lebanon that while we're shelling Lebanese naval ships, the Navy is shelling Lebanese installations and somebody attacks [that's not terrorism].

I think I am most fond of the unseen part. I mean that the various cultural experiences that I go through, and the behavioral aspects of getting the work done, are just as important as the installation and the photograph. So, for me, the relationship between the two is more about hybridism and the search for an ideal form that I'm never going to arrive at. The installation and the photograph are mere approximations of this ideal.

As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.

Real philosophy is like trying to read an alarm system installation manual in Korean.

I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations.

The sacrifices of our people were very great. Out of a population of one million, 28,000 were killed, 12,600 wounded, 10,000 were made political prisoners in Italy and Germany, and 35,000 made to do forced labour, of ground; all the communications, all the ports, mines and electric power installations were destroyed, our agriculture and livestock were plundered, and our entire national economy was wrecked.

Since the moment of the United Nations' inception, untold energies have been expended by governments not only toward the exclusion of persons of principle and distinction from the organization's leading positions, but toward the installation of men whose character and affiliations would as far as possible preclude any serious challenge to governmental sovereignty.

It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.

When money and hype recede from the art world, one thing I won't miss will be what curator Francesco Bonami calls the 'Eventocracy.' All this flashy 'art-fair art' and those highly produced space-eating spectacles and installations wow you for a minute until you move on to the next adrenaline event.

There are five kinds of incendiary attack: The first is called setting fire to personnel; the second, to stores; the third, to transport vehicles and equipment; the fourth, to munitions; the fifth, to supply installations...In all cases an army must understand the changes induced by the five kinds of incendiary attack, and make use of logistical calculations to address them.

What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.

All the necessary elements of a room should not arrive on installation day. Room should always be left for the things we will acquire...the objects we cannot live without.

Serious accidents are frequently blamed on "human error." Yet careful analysis of such situations shows that the design or installation of the equipment has contributed significantly to the problems. The design team or installers did not pay sufficient attention to the needs of those who would be using the equipment, so confusion or error was almost unavoidable.

I’ve never wanted to be called an artist. The term itself seems old-fashioned. It’s a term that does not relate to modern times. And it’s too confining. What I love about fashion is its accessibility and its democracy. Everyone wears it, and everyone relates to it.

I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work.

But their determination to banish fools foundered ultimately in the installation of absolute idiots.

I had two spinster aunts who were seamstresses, and of course unemployed in the 1930s, but the union gave them a life. They had a couple of weeks in the country for a union installation and they had educational programs and all sorts of things. There was a life, you know, a real community.