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32-664: The art museum was opened in honour of the Fathers of Confederation , in October 1964, along with the rest of the Confederation Centre of the Arts. The art museum's permanent collection includes over 17,000 works, primarily from Canadian artists. Its exhibition spaces feature contemporary and historical exhibitions year-round, as well as special events, public lectures, and educational programming. The Confederation Centre of

64-592: A U-shape around a fourth "Memorial Hall" pavilion; with the Confederation Centre Art Gallery located in the northeast pavilion of the U-shaped building complex. The art gallery pavilion is three storeys, and has a low geometric massing that is used throughout the entire structure. It includes seven exhibition rooms, which comprise over 3,250 square metres (35,000 sq ft), an art education facility named The Schurman Family Studio,

96-442: A broad range of everyday and natural materials, which are often chosen for their " evocative " qualities, as well as new media such as video , sound , performance , immersive virtual reality and the internet . Many installations are site-specific in that they are designed to exist only in the space for which they were created, appealing to qualities evident in a three-dimensional immersive medium. Artistic collectives such as

128-428: A contemporary outdoor sculpture court, a conservation lab, a preparation workshop, administrative offices, and temporary and permanent collection storage rooms. There are two access points for the art museum pavilion, an entrance to the south that provides access from the inside the other pavilions of the Confederation Centre of the Arts, and an entrance to the north that provides access from the outside. As of June 2017,

160-469: A genre during the 1990s, when artists became particularly interested in using the participation of the audiences to activate and reveal the meaning of the installation. With the improvement of technology over the years, artists are more able to explore outside of the boundaries that were never able to be explored by artists in the past. The media used are more experimental and bold; they are also usually cross media and may involve sensors, which plays on

192-452: A reinforced concrete frame, faced with a continuous wall of smooth sandstone . On 30 June 2003, the entire structure was designated as a National Historic Site of Canada . The building is made of four constituent pavilions which together form a single building; however their exteriors were designed to be visually distinct from one another, giving the appearance that the pavilions are separate buildings. Three of these pavilions are situated in

224-500: A specialized historical components, featuring a specialized research collection of works by Robert Harris , and the Lucy Maud Montgomery Collection, which includes sixteen novel manuscripts from the author. The Expo 67 Collection of Fine Craft features works made for the 1967 World's Fair . Fathers of Confederation The Fathers of Confederation are the 36 people who attended at least one of

256-746: The Charlottetown Conference of 1864 (23 attendees), the Quebec Conference of 1864 (33 attendees), and the London Conference of 1866 (16 attendees), preceding Canadian Confederation . Only eleven people attended all three conferences. The following table lists the participants in the Charlottetown, Quebec, and London Conferences and their attendance at each stage. Four other individuals have been labelled as Fathers of Confederation. Hewitt Bernard , who

288-491: The Exhibition Lab at New York's American Museum of Natural History created environments to showcase the natural world in as realistic a medium as possible. Likewise, Walt Disney Imagineering employed a similar philosophy when designing the multiple immersive spaces for Disneyland in 1955. Since its acceptance as a separate discipline, a number of institutions focusing on Installation art were created. These included

320-634: The Mattress Factory , Pittsburgh, the Museum of Installation in London, and the Fairy Doors of Ann Arbor, MI , among others. Installation art came to prominence in the 1970s but its roots can be identified in earlier artists such as Marcel Duchamp and his use of the readymade and Kurt Schwitters ' Merz art objects, rather than more traditional craft based sculpture . The "intention" of

352-597: The Smolin Gallery in New York. Installation as nomenclature for a specific form of art came into use fairly recently; its first use as documented by the Oxford English Dictionary was in 1969. It was coined in this context, in reference to a form of art that had arguably existed since prehistory but was not regarded as a discrete category until the mid-twentieth century. Allan Kaprow used

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384-400: The simulacrum or flawed statue : it neglects any ideal form in favor of optimizing its direct appearance to the observer. Installation art operates fully within the realm of sensory perception, in a sense "installing" the viewer into an artificial system with an appeal to his subjective perception as its ultimate goal. An interactive installation frequently involves the audience acting on

416-460: The Arts building complex, which also contains a public library, restaurant, a 1,102-seat theatre for the performing arts , two studio theatres , and several event venues. Designed by Affleck, Desbarats, Dimakopoulos, Lebensold, and Sise , the Brutalist style structure began construction in 1963, and was completed in 1964. Designed by Dimitri Dimakopoulos , the exterior of the structure features

448-466: The Arts was built from 1963 to 1964 in order to commemorate the Fathers of Confederation . Built in a Brutalist style by Montreal firm Affleck, Desbarats, Lebensold, Michaud & Sise , it was seen as "prototype for the Centennial building program, inciting other provinces and cities to start thinking of a more permanent monument of the year". The federal government provided C$ 2.8 million, while

480-546: The art museum's permanent collection includes over 17,000 works by Canadian artists. The permanent collection began in 1964, and has a mandate to develop exhibit Canadian visual arts, with and its collection reflect on Canadian identity and the origin and evolution of the country. Works in the collection were either directly purchased from the art museum, bequeathed to, or donated to the art museum. The collection includes digital media presentations, drawings, installation art , painting, photography, printmaking, sculptures. Most of

512-542: The artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. This again is a departure from traditional sculpture which places its focus on form . Early non-Western installation art includes events staged by the Gutai group in Japan starting in 1954, which influenced American installation pioneers like Allan Kaprow . Wolf Vostell shows his installation 6 TV Dé-coll/age in 1963 at

544-716: The book "Themes in Contemporary Art", it is suggested that "installations in the 1980s and 1990s were increasingly characterized by networks of operations involving the interaction among complex architectural settings, environmental sites and extensive use of everyday objects in ordinary contexts. With the advent of video in 1965, a concurrent strand of installation evolved through the use of new and ever-changing technologies, and what had been simple video installations expanded to include complex interactive, multimedia and virtual reality environments". In "Art and Objecthood", Michael Fried derisively labels art that acknowledges

576-409: The curious and eager viewer, still aware that they are in an exhibition setting and tentatively exploring the novel universe of the installation. The artist and critic Ilya Kabakov mentions this essential phenomenon in the introduction to his lectures "On the "Total" Installation": "[One] is simultaneously both a 'victim' and a viewer, who on the one hand surveys and evaluates the installation, and on

608-469: The federal and provincial governments of Canada, although the Government of Prince Edward Island acts as its custodian. Following an investigation into several works in its permanent collection in the mid-2010s, the museum corrected the attribution to several works to its correct painter, Caroline Louisa Daly . A two-year investigation into the matter by the museum was launched in 2014 shortly after it

640-435: The line between "art" and "life"; Kaprow noted that "if we bypass 'art' and take nature itself as a model or point of departure, we may be able to devise a different kind of art... out of the sensory stuff of ordinary life". The conscious act of artistically addressing all the senses with regard to a total experience made a resounding debut in 1849 when Richard Wagner conceived of a Gesamtkunstwerk , or an operatic work for

672-627: The museum's holdings are works of contemporary art ; although its collection does include works from the 19th and early 20th centuries, including works by Fanny Amelia Bayfield , Kathleen Daly , Cornelius Krieghoff , and George Pepper . The museum's collection includes specialized areas, like the Confederation Mural Collection, which includes works by Jean Paul Lemieux , and Jane Ash Poitras . The collection also includes works by Indigenous Canadians , including Robert Houle . The museum's permanent collection also includes

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704-456: The new environment. What is common to nearly all installation art is a consideration of the experience in toto and the problems it may present, namely the constant conflict between disinterested criticism and sympathetic involvement. Television and video offer somewhat immersive experiences, but their unrelenting control over the rhythm of passing time and the arrangement of images precludes an intimately personal viewing experience. Ultimately,

736-415: The only things a viewer can be assured of when experiencing the work are his own thoughts and preconceptions and the basic rules of space and time. All else may be molded by the artist's hands. The central importance of the subjective point of view when experiencing installation art, points toward a disregard for traditional Platonic image theory. In effect, the entire installation adopts the character of

768-442: The other, follows those associations, recollections which arise in him[;] he is overcome by the intense atmosphere of the total illusion". Here installation art bestows an unprecedented importance on the observer's inclusion in that which he observes. The expectations and social habits that the viewer brings with him into the space of the installation will remain with him as he enters, to be either applied or negated once he has taken in

800-442: The perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called public art , land art or art intervention ; however, the boundaries between these terms overlap. Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces. The genre incorporates

832-403: The provincial governments provided C$ 0.15 for each resident in their respective provinces. On 6 October 1964, the 100th anniversary of the Charlottetown Conference , the Confederation Centre of the Arts was opened by Queen Elizabeth II . The Confederation Centre of the Arts included the Confederation Centre Art Gallery, and several venues for the performing arts . The centre formally belongs to

864-401: The stage that drew inspiration from ancient Greek theater in its inclusion of all the major art forms: painting , writing , music , etc. (Britannica). In devising operatic works to commandeer the audience's senses, Wagner left nothing unobserved: architecture , ambience, and even the audience itself were considered and manipulated in order to achieve a state of total artistic immersion. In

896-461: The term "Environment" in 1958 (Kaprow 6) to describe his transformed indoor spaces; this later joined such terms as "project art" and "temporary art." Essentially, installation/environmental art takes into account a broader sensory experience, rather than floating framed points of focus on a "neutral" wall or displaying isolated objects (literally) on a pedestal. This may leave space and time as its only dimensional constants, implying dissolution of

928-436: The viewer as " theatrical " (Fried 45). There is a strong parallel between installation and theater: both play to a viewer who is expected to be at once immersed in the sensory / narrative experience that surrounds him and maintain a degree of self-identity as a viewer. The traditional theater-goer does not forget that they have come in from outside to sit and take in a created experience; a trademark of installation art has been

960-485: The work of art or the piece responding to users' activity. There are several kinds of interactive installations that artists produce, these include web -based installations (e.g., Telegarden ), gallery -based installations, digital -based installations, electronic -based installations, mobile -based installations, etc. Interactive installations appeared mostly at end of the 1980s ( Legible City by Jeffrey Shaw , La plume by Edmond Couchot , Michel Bret...) and became

992-413: Was informed of the issue by a great-grandchild of Daly, who recognized her signature on one of the works. Following the correction, the museum organized an exhibition to exhibit works by Daly. The Confederation Centre Art Gallery building is located in the central business district of Charlottetown, and is situated west of Province House . The art museum forms a part of the larger Confederation Centre of

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1024-499: Was the recording secretary at the Charlottetown Conference, is considered by some to be a Father of Confederation. The leaders most responsible for bringing three specific provinces into Confederation after 1867 are also referred to as Fathers of Confederation. ‌ Installation art Installation art is an artistic genre of three-dimensional works that are often site-specific and designed to transform

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