(1) How long have you been making installations?
I have been making installations as an art form in itself since 1977.
I don't make installations exclucively.
My installation works can best be described as ephemeral/temporal. Many of them are both installations and book(work)s.
I don't know of many other works that are both installations and books. Buzz Spector's "Unpacking My Library" comes to mind, although it is a documentation of an installation.
The relationship of traditional artwork to installations is that while artworks may be installed, installations must.
The size and material of an installation is determined by the elements of the installation, the space in which it is to exist and the limits of the medium of its realization, as well as the original conception/inspiration.
Of my own work, "A Thousand Words" (1991) is the largest (1000 pages, variable dimensions up to approximately 15X20 feet) and "MIW, 1984" (an experimental drawing using copper stencils, sand and spray paint) is probably the smallest at around 12" square. A digital version of "A thousand Words" may be viewed on the internet at http://spot.Colorado.EDU/~johnsooja/Home.html.
It depends on the parameters of the work. If they are open to variation, the environment could be a significant factor. In some cases, the environment may be an integral structural feature of the work. In most cases, the environment has some affect on the life/experience/perception of the work. In others it is unimportant.
The political reality of a given situation might restrict the possibilities of an installation. I suppose the material considerations of a site may not meet the requirements of a given concept.
Why not? I happen to make ephemeral/temporal installations, but if someone wanted to leave it around, I think that would be fine. Unless it can be reproduced as a multiple variation, it's probably going to fall apart eventually anyway.
Again why not? Its ephemeral/temporal nature makes an installation valuable in terms of esthetics, not material qualities. However, its elements and documentation may be valued in monetary terms as "object d'art".
(These are "leading" questions, aren't they?) Copyright might apply if the work is copyrighted. If not, it may apply if someone passes the work off as their own and derives monetary compensation from another's original work. This doesn't differ from conventional art forms that I can see.
(16) Your questions, if there is any, and your answers to them.
My question is: Would
you rather drink muddy water or sleep in hollow log?
James JOHNSON (USA)