Exploring Immersive Art's Evolution from VR Origins to Contemporary Commercial Exhibitions
The concept of 'immersive' art originated in early 1990s Californian digital culture alongside terms like virtual reality. Char Davies' 1995 VR work 'Osmose' exemplified early immersive experiences. Media theorist Oliver Grau's 2003 book traced immersive art's lineage to historical forms like frescoes and panoramas. Today, immersive exhibitions have become a global commercial industry, pioneered by companies like Culturespaces and collectives like teamLab, using large-scale projections in repurposed spaces. Artists such as David Hockney have adapted works for this format, while figures like Kurt Hentschläger explore more challenging immersive experiences. The article argues for deeper theoretical engagement with immersion beyond its current commercial applications.
Key facts
- The term 'immersive' emerged from 1990s digital culture and early VR projects like Char Davies' 'Osmose' (1995)
- Oliver Grau's 2003 book 'Virtual Art' traces immersive art's history to pre-digital forms like frescoes and panoramas
- Commercial immersive exhibitions have become a global industry since around 2012, using large-scale projections in converted spaces
- Artists like David Hockney have created works for immersive formats, while others like Kurt Hentschläger explore more experimental approaches
- The article calls for more serious theoretical consideration of immersion beyond its current commercial manifestations
Entities
Artists
- Char Davies
- Oliver Grau
- David Hockney
- Kurt Hentschläger
- Rafael Lozano-Hemmer
- Janet Cardiff
- George Bures Miller
- Ragnar Kjartansson
- Yayoi Kusama
- Lucio Fontana
- Iannis Xenakis
- Marta Minujín
Institutions
- Culturespaces
- teamLab
- Tate Modern
- Centre Pompidou
- Powerhouse Museum
- Manchester International Festival
- Venice Theatre Biennale
- Sónar Festival
Locations
- California
- London
- Sydney
- Venice
- Barcelona
- Montréal
- Manchester