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ART ON TELEVISION: 1967-1976
by
SARAH HOLLENBERG
A DISSERTATION Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
in Partial Fulfillment
of the Requirements for the Degree of
DOCTOR OF PHILOSOPHY
(ART HISTORY)
December 2012
Copyright 2012 Sarah Hollenberg
Object Description
| Title | Art on television: 1967-1976 |
| Author | Hollenberg, Sarah |
| Author email | hollenb@gmail.com;hollenb@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Art History |
| School | College of Letters, Arts And Sciences |
| Date defended/completed | 2012-11-27 |
| Date submitted | 2012-11-27 |
| Date approved | 2012-11-27 |
| Restricted until | 2012-11-27 |
| Date published | 2012-11-27 |
| Advisor (committee chair) | Meyer, Richard |
| Advisor (committee member) |
Flint, Kate Ross, Steven |
| Abstract | This dissertation provides an account of artists’ residency programs at two American public television stations in the earliest years of video art, arguing that the institutional context of the television station demands a reorientation of video art history. The collaboration between artists and television professionals in an historical moment of rapid change in public media, visual arts, and social ideals illustrates the importance of institutional histories and dialogue between artistic and extra-artistic cultural spheres in post-war American art. ❧ The residency programs at WGBH-TV in Boston and KQED-TV in San Francisco, both initiated in 1967, were very similar on the surface, but the differences between the two offer insight into the history of post-war modernism and the emergence of post-modern practices. At WGBH-TV in Boston, artists and television professionals collaborated closely to produce a number of artworks for broadcast. These works often undermined the ideals of individuality and autonomy that are treated as foundations of visual art production by openly exploring the ways in which the collaborative environment of the television station and the conventions of public broadcasting shaped the practices of participating artists. At KQED-TV in San Francisco, on the other hand, artists tried to retreat from the television world even as they inhabited it, by eschewing broadcast and embracing modernist ideals of medium specificity. Despite a desire for autonomy, however, artists at KQED found their practices instrumentalized, as the television studio became a creative laboratory that merged the cold-war culture of collaborative research and development and the contemporaneous lionization of expressive abstraction. ❧ These residency programs had an effect beyond the boundaries of the art world and the new genre of video art. In a number of television shows produced at WGBH, KQED and WNET-TV in New York, art practices spilled over into regular programming. As art galleries began to buy television monitors on which to display video art, a handful of television shows introduced the strategies and techniques of video art as a bridge to the counterculture, in order to connect with the increasingly powerful babyboomer demographic. These television shows are not categorized as artworks, but they show significant points of overlap with those products of the residencies that have been, existing as genuine hybrids of art and television. ❧ The activities and works documented in this dissertation demonstrate a clear point of overlap and entanglement between cultural spheres that are often kept at arms length from one another. |
| Keyword | video art; art after 1945; post-war modernism; abstraction; collaboration; autonomy; new media; television; public television; educational television; institutional history; counterculture; Boston; San Francisco; Fred Barzyk; Nam June Paik; Russel Connor; William Wegman; Allan Kaprow; Brice Howard; Steven Beck; David Silver |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m |
| Rights | Hollenberg, Sarah |
| Access conditions | The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given. |
| Repository name | University of Southern California Digital Library |
| Repository address | USC Digital Library, University of Southern California, University Park Campus MC 7002, 106 University Village, Los Angeles, California 90089-7002, USA |
| Repository email | cisadmin@usc.edu |
| Archival file | uscthesesreloadpub_Volume6/etd-Hollenberg-1352.pdf |
Description
| Title | Page 1 |
| Full text | ART ON TELEVISION: 1967-1976 by SARAH HOLLENBERG A DISSERTATION Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY (ART HISTORY) December 2012 Copyright 2012 Sarah Hollenberg |
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