Installation art begins in a space. What is the space? It is a space that has most likely been something before. As an art student, I have only installed art in a gallery space. However, the installations at Disney have more of a history. Let’s discuss Tomorrowland. Some of the attractions include The Carousel of Progress, Tomorrowland Transit Authority People Mover, Buzz Lightyear’s Space Ranger Spin, and Monster’s Inc. Laugh Floor.
The attractions are all installation art. They each have a different impact on the built environment and affect those who experience them differently. The Carousel of Progress (art installation) originally commissioned by General Electric and designed by WED (the original Imagineers) for the 1964 World’s Fair. The Carousel originally installed in New York in 1964, moved to Disneyland in California in 1967 and reinstalled in Magic Kingdom in Disney World Florida in 1975. The installation had continued modifications each time the art moved but the same concept of rotating theater telling the journey of a family and technology stayed true.
Behind the scenes of Buzz Lightyear’s Space Ranger Spin are the skeletons of the past installation. It is in the same building and was an installation that was constructed in 1972. After decades of use, it was decommissioned and in 1998 Buzz Lightyear’s Space Ranger Spin opened. Jumping topics to branding – Buzz Lightyear was popular when I was young with the Toy Story movies and now 20 years later still going strong with the release of the Lightyear movie this summer.
I used these two examples of installation art to show the extremes. One was designed and created off-site and installed in various locations. I am sure there were many more constraints in the installation that were addressed while not influencing the outcome of the art. While the second example of art installation actually had the constraint of the location, size and shape of the space. The theme was set and the design had to fit in those boundaries.
As an artist, I expect there may be more constraints than I’ve yet experienced in the studio space. However, I think some of the constraints could be a wonderful challenge for an art installation.
It’s an interesting perspective and one that I think is correct. Speaking of re-developed rides: Aren’t they re-working Splash Mountain currently? Are they letting cast members preview that project? It would be interesting to see how that that space is transformed.
One section of the ride that Disney is paying more attention to is the line. They have added details and interactive elements in recent years to keep guests entertained while they wait. That’s probably a less recognized use of planned space, but certainly some of your observations apply there too.