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Intellect Books - Connolly Maeve

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226 pages

English

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TV Museum takes as its subject the complex and shifting relationship between television and contemporary art. Informed by theories and histories of art and media since the 1950s, this book charts the changing status of television as cultural form, object of critique and site of artistic invention. Through close readings of artworks, exhibitions and institutional practices in diverse cultural and political contexts, Connolly demonstrates television’s continued importance for contemporary artists and curators seeking to question the formation and future of the public sphere. Paying particular attention to developments since the early 2000s, TV Museum includes chapters on exhibiting television as object; soaps, sitcoms and symbolic value in art and television; reality TV and the social turn in art; TV archives, memory, and media events; broadcasting and the public realm; TV talk shows and curatorial practice; art workers and TV production cultures.

Introduction: Contemporary Art and the Age of Television

Chapter One: Sets, Screens and Social Spaces: Exhibiting Television

Chapter Two: Quality Television and Contemporary Art: Soaps, Sitcoms and Symbolic Value

Chapter Three: Reality TV, Delegated Performance and the Social Turn

Chapter Four: European Television Archives, Collective Memories and Contemporary Art

Chapter Five: Monuments to Broadcasting: Television and Art in the Public Realm

Chapter Six: Talk Shows: Art Institutions and the Discourse of Publicness

Chapter Seven: Production on Display: Television, Labour and Contemporary Art

Conclusion: Contemporary Art After Television

Sujets

Energie & environnement

Télévision

Cultural Studies

General

Engineering

Technology

Television

General officer

Sciences et techniques

Popular Culture

Power Resources

Informations

Publié par	Intellect Books
Date de parution	01 mars 2014
Nombre de lectures	0
EAN13	9781783202454
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,1900€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2014 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2014 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2014 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Stephanie Sarlos
Copy-editor: Richard Walsh
Cover image: Auto Italia LIVE: Double Dip Concession, 2012, live broadcast from the ICA, London, as part of the exhibition ‘Remote Control’. Courtesy: Auto Italia South East, London.
Photograph: Ryan McNamara
Production manager: Tim Mitchell
Typesetting: Contentra Technologies
Print ISBN 978-1-78320-181-5
ePUB ISBN 978-1-78320-245-4
ePDF ISBN 978-1-78320-244-7
Printed and bound by Gomer Press Ltd, UK.
Table of Contents
Acknowledgements
Introduction: Contemporary Art and the Age of Television
Chapter One: Sets, Screens and Social Spaces: Exhibiting Television
Chapter Two: Quality Television and Contemporary Art: Soaps, Sitcoms and Symbolic Value
Chapter Three: Reality TV, Delegated Performance and the Social Turn
Chapter Four: European Television Archives, Collective Memories and Contemporary Art
Chapter Five: Monuments to Broadcasting: Television and Art in the Public Realm
Chapter Six: Talk Shows: Art Institutions and the Discourse of Publicness
Chapter Seven: Production on Display: Television, Labour and Contemporary Art
Conclusion: Contemporary Art After Television
Notes
References
Index
Acknowledgements
The origins of the project can be traced to The Glass Eye: Artists and Television (Dublin: Project Press, 2000), a collection of artists’ texts and projects that I co-edited with Orla Ryan. The Glass Eye was followed by an exhibition in Dublin, The Captain’s Road , curated in 2002 with Orla Ryan and Valerie Connor, which presented artworks and events engaging with television in both a suburban home and a workers’ social club. My interest in television as an object of artistic and curatorial investigation receded for several years but it was reignited in 2008, when Sarah Cook visited Dublin and spoke to my students at Dun Laoghaire Institute of Art, Design and Technology about Broadcast Yourself , the exhibition that she co-curated with Kathy Rae Huffman at Hatton Gallery in Newcastle and Cornerhouse, Manchester. Although TV Museum: Contemporary Art and the Age of Television is primarily concerned with artworks, it engages also with practices of curating, exhibition-making and public programming, and seeks to offer a comprehensive account of television’s significance in contemporary art, particularly since the early 2000s.
The book incorporates material revised from various journal articles (identified within the text) and conference papers, and I am greatly indebted to the many journal editors, peer reviewers and conference attendees who have helped to shape and inform my research. I have also developed and tested many different elements of this research in seminars with graduate and undergraduate students on art and media programmes, including the MA in Visual Arts Practices (Dun Laoghaire Institute of Art, Design and Technology, Dublin), MA in Curatorial Practice (California College of the Arts, San Francisco), MRes Art: Moving Image at Central Saint Martins (University of the Arts, London) and the Royal Danish Art Academy. In 2012, I was invited to deliver a ‘TV Museum’ seminar over several months at the Media Faculty of Bauhaus University Weimar, which provided a valuable opportunity to refine the structure of the book. My research has also been sustained through many productive interactions with senior and postgraduate researchers at the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie (IKKM) at Bauhaus University Weimar, and also with residents at the Zentrum für Kunst and Urbanistik in Berlin.
I would particularly like to thank the following: John Caldwell, Francesco Casetti, Ana Paula Cohen, Benjamin Cook, Valerie Connor, Farrel Corcoran, Tom Dale, Michelle Deignan, Anita Di Bianco, Liam Donnelly, Thomas Elsaesser, Lorenz Engell, Annie Fletcher, Laura Frahm, Alicia Frankovich, Ursula Frohne, Fiona Fullam, Bernard Geoghegan, Tessa Giblin, Luke Gibbons, Paula Gilligan, Sarah Glennie, Nicky Gogan, Carolina Grau, Melissa Gronlund, Lilian Haberer, Caroline Hancock, Dan Hays, Sinead Hogan, Jane Horton, Daniel Jewesbury, Finola Jones, Jesse Jones, Darin Klein, Mia Lerm Hayes, Alex Martinis Roe, Stephanie McBride, Martin McCabe, Carol McGuire, Bea McMahon, Dennis McNulty, Eoghan McTigue, Leigh Markopoulos, Catherine Morris, Diane Negra, Niamh O’Malley, Paul O’Neill, Volker Pantenburg, Susan Philipsz, Robert Porter, Lucy Reynolds, Orla Ryan, Bernhard Siegert, Mike Sperlinger, Kate Strain, Anne Tallentire, Annette Urban, Huib Haye van der Werf, Helmut Weber and Ian White. This project would never have been possible without the support of colleagues at Dun Laoghaire Institute of Art, Design and Technology, Dublin, and the opportunity for critical reflection afforded by a Research Fellowship (in 2011–2012) as part of the Junior Fellows programme at the IKKM, Bauhaus University Weimar. Vital financial assistance was also provided by the Irish Arts Council/An Chomhairle Ealaíon in the form of a Project Grant, awarded in 2011.
My sincere thanks are due to the many artists, curators and gallerists who facilitated visits to exhibitions and studios, generously provided access to documentation, production details and images for reproduction, and also to the editors and designers at Intellect Books for their commitment to this project. I am also very grateful to the anonymous peer reviewer of the manuscript, whose generous and insightful comments were incredibly helpful during the revision process, and to Lucy Reynolds for her invaluable editorial guidance. Finally, I want to thank my mother Nora, my sisters Eithne, Aoife, Sinead and Fiona, and my partner Dennis McNulty, for their constant support.
Introduction
Contemporary Art and the Age of Television
Writing in the 1990s, and reflecting upon the museum boom of the previous decade, Andreas Huyssen proposes a possible connection between the prominence of museums and monuments in contemporary culture and the ‘cabling of the metropolis’ during the 1980s. 1 For Huyssen, the spread of cable television contributed to ‘an unquenchable desire for experiences and events’, which could only be satisfied by the ‘register of reality’ carried by museum objects. According to this logic, the material objects that are oldest, and so most distinct from ‘soon-to-be-obsolete’ commodities, command the greatest presence, carrying the greatest ‘memory value’ and yielding a ‘sense of the authentic’ that cannot be matched even by the live television broadcast. 2 In the decades following the museum boom, however, television has itself acquired the status of a ‘soon-to-be-obsolete’ material object. Furthermore, manifestations of televisual presence—once exemplified by the live broadcast—are now increasingly subject to relativisation and remediation by newer technologies. As a result, it is timely to reconsider the relationship between television and the museum, and to reassess the cultural significance of changes in broadcasting, including those referenced by Huyssen.
There are, however, particular challenges involved in theorising television’s altered status as an object of museum memory, as evidenced by two recent accounts of a paradigmatic art installation, Douglas Gordon’s 24 Hour Psycho (1993). In a 2012 publication exploring the borders of cinema, Volker Pantenburg draws attention to television’s role as mediating technology in the production of Gordon’s work, observing that ‘wherever questions of “cinema” seem to be addressed, “film” can just as well mean TV, DVD, or the Internet’. 3 He cites an interview (from 2002) in which Gordon is asked when he first encountered the films referenced in his installations. Gordon responds by recounting his memory of arriving home from a late night shift in a supermarket in the early 1980s and stumbling upon an ‘esoteric film series’ on Channel 4 television, featuring an array of European and Hollywood auteurs. 4 Noting that the channel had ‘just started’, Gordon presents it as ‘a very important thing: Channel 4 was the only thing on TV at that time of night’. So this memory of television actually concerns a specific moment of innovation in British public service broadcasting. For the first few years of its existence, Channel 4 received an additional public subsidy enabling the development of an experimental approach to the commissioning and scheduling of programmes, aimed at a variety of minority audiences perceived to have been overlooked or marginalised by other public broadcasting services. 5 Significantly, unlike Andy Warhol, who deliberately dissociated himself from the network schedule with its normative assumptions about social and familial life by watching TV shows on tape, 6 Gordon does not describe his relationship with late-night television in the early 1980s in terms of video-enabled ‘timeshifting’. 7 Instead he formed part of a larger—albeit unknown—constituency, sharing in the scheduled late-night viewing of esoteric films at a specific moment in the history of British broadcasting. Consequently, it is possible to imagine 24 Hour Psycho as an exaggerated version of niche broadcasting, in the form of a TV channel showing nothing but Hitchcock’s Psycho , all day.
24 Hour Psycho also figures prominently within Erika Balsom’s analysis of cinema’s exhibition in contemporary art. According to Balsom, Gordon sees Hitchcock ‘as a kind of hinge between ci