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Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
Real philosophy is like trying to read an alarm system installation manual in Korean.
What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.
I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.
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.
If one limits to developing only the kitchen and bathroom as standardized rooms because of their installation, and then also decides to arrange the remaining living area with movable walls, I believe that any justified living requirements can be met.
I can be working on a collection and a film at the same time. It can take a lot out of me, but the processes come from the same source. From a brief I set myself I can make a film, I can make a collection, I can make an installation.
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.
All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.
The most awful museums are in China. They have magnificent stuff on display and just the worst way of displaying it. They just don't spend money on lighting and installation.
