Relational Art examines the relationships between art, people, and culture. It is a unique form of art that has grown in popularity over the past few decades. In this article, we will explore the definition of Relational Art, its history, and examples of how it is used in the world today.
Relational Art is an artistic movement that emerged in the late 1990s which values collaboration and interaction between artist and viewer. It emphasizes the social interactions that take place during the creation, display and appreciation of artworks, while disregarding traditional ideas of aesthetic value or artistic production. This artistic practice can encompass any form of media, from performance art, to painting and photography, to video installations.
The concept of Relational Art has been developed by a number of contemporary artists, particularly French theorist Nicolas Bourriaud. According to Bourriaud, a work of art must establish a “relational field” in which participants engage with each other in an exchange of perspectives. This means that participants are immersed in a dialogue, wherein both artist and viewer become collaborators.
For Bourriaud, the characteristics of a successful relational artwork is that it creates a mutually beneficial situation for those involved. It can be seen as an attempt to bridge the gap between modern, individualized lifestyles, and the traditional need for human connection. As such, participant engagement is crucial for the success of a work, and should create a sense of collective experience and mutual understanding.
The history of Relational Art began in the late 1960s, when French artist Pierre Restany coined the term in a manifesto about Arte Povera. In this manifesto, he argued that the traditional understanding of art was too narrow and did not consider all forms of creative expression. He saw relational art as having "a significant social or humanistic purpose" and being "able to establish a kind of contact, interaction or dialogue between people".
In the 1970s, relational art gained popularity among contemporary artists such as Joseph Kosuth, Hans Haacke, and Mierle Laderman Ukeles. These artists developed works that focused on themes of community, audience participation, and exchange. For example, Kosuth created works that explored language and meaning, while Haacke and Ukeles both created works that were interactive, requiring audience participation and involvement.
The 1980s saw the emergence of relational art as a form of activism. Artists such as Martha Rosler, Fred Wilson, and Guillermo Gomez-Pena all used their work to confront oppressive systems, challenge myths, and raise awareness of social issues. In 1989, German artist Joseph Beuys introduced an integrated concept of art, life, and politics, which had a lasting impact on the development of relational art.
Relational Art is a form of art that experiments with the concept of relationships between people and objects. Examples of this art can range from interactive works that involve audience participation, to installations that use technology to encourage connections among people. One prominent example of this art is "The Dinner Party" by Judy Chicago, which served as a symbolic representation of different women throughout history. The piece was composed of triangular tables with plates featuring the names of well-known women, with each person’s name marked in a unique embroidered design. Another example of Relational Art is “The Social Model of Disability” by artist Alison Lapper, which features an intricate sculpted marble bust set atop a plinth featuring a single light bulb, symbolizing her struggles living with disabilities. This work aimed to create conversations about the status of disabled people in society. Finally, Marina Abromovic's performance art piece "The Artist is Present" included a two month long installation at the Museum of Modern Art in New York, where she invited sitters to sit with her for a few minutes each for the duration of the show. The work encouraged intimate conversations around the idea of physical presence and the relationship between the artist and viewer.