| 21st Century artists, with the benefit of rapid advancements in technology, are using space in ways that push more genuine interaction between the artwork, viewer, and environment; create a more social, cooperative process of development and creation; and consider both sustainability of the environment and the artwork itself. In taking on these roles, the artwork’s physical structure has become increasing integrated in open space, rather than closed off as in traditional sculpture. Additionally, a growing number of artists are undisturbed by the traditional view that fine art can not be practical or functional, and are instead focusing on creating new kinds of spaces that might improve humans’lifestyles in the future.This paper investigates fiber as perhaps the most versatile media for expressing structure. Fibers exhibit unique material properties that are able to delineate space, achieve volume with very little mass, as well as provide maximal or minimal surface area, insulation, protection, and communicative properties, all while remaining flexible. These properties have been taken advantage of for ages in the natural world and human technology, but are also relevant to art. Through case studies and literature review, this paper will research how contemporary artists, unlike those of the 20th century who neglected functional purpose, are using fibers as a means of crossing between spatial dimensions to involve the viewer and environment. Specifically, this paper will explore the relationship between non-Euclidean geometry, fibers, and installation, to resolve how functionality has re-emerged in contemporary art, and its significance for the future.Chapter 1 of this paper provides a basic introduction to non-Euclidean geometry, a relatively new field in mathematics that did not become a well known concern until the late 19th century. It wasn’t until the late 20th century, however, that traditional fiber techniques were found to be capable of solving some of the problems of how to model negatively curved surfaces, which are a feature of non-Euclidean, hyperbolic geometry. Fibers and the techniques used to produce textiles exhibit important qualities such as flexibility, linearity, and a trapping of open space that enable them to adapt easily between 2 and 3 dimensions, the flat planes of Euclidean geometry, and the curved planes of non-Euclidean geometry. These properties are explored in detail in Chapter 2. Chapter 2 also describes functional aspects of fibers in nature and technology, when non-Euclidean characteristics are exhibited.The following section includes case studies of 20th Century artists who explored using fibers and space in non-traditional ways. These pioneers helped revive fibers as a legitimate fine arts media while creating the "installation" art-form that would more closely involve the viewer and environment than traditional sculpture in the round. The artists selected for case studies in this section include Marcel Duchamp, Naum Gabo, Eva Hesse, and Kenneth Snelson. Chapter 3 finishes with a summary and comparison of the 20th Century case studies.Chapter 4 presents 4 contemporary artist case studies, including Philip Beesley, Janet Echelman, ecoLogicStudio, and Tomas Saraceno. These artists build on the 20th Century use of installation and fibers to further involve the viewer and environment in a more truly interactive context. These artists are actively working with scientists and engineers to develop new materials and digital technologies that were not available during the 20th century.Chapter 5 will discuss the overall significance and draw conclusions from the contemporary case studies. Analysis is further divided into six sections including digital technology, new materials technology, cooperative work, responsive interaction, environmental sustainability, and self-sustainability. General comparisons between the 20th and 21st century artists use of form and function will be discussed, as well as a general analysis of implications for Modern and Post-modern theories. |
PDF Full Text Request