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The Artist as Surveillant : = The Use of Surveillance Technology in Contemporary Art.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Artist as Surveillant :/
其他題名:	The Use of Surveillance Technology in Contemporary Art.
作者:	O'Neill, Claire E.
面頁冊數:	1 online resource (75 pages)
附註:	Source: Masters Abstracts International, Volume: 84-09.
Contained By:	Masters Abstracts International84-09.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30246519click for full text (PQDT)
ISBN:	9798377600138

The Artist as Surveillant : = The Use of Surveillance Technology in Contemporary Art.
O'Neill, Claire E.

The Artist as Surveillant :The Use of Surveillance Technology in Contemporary Art. - 1 online resource (75 pages)

Source: Masters Abstracts International, Volume: 84-09.

Thesis (M.A.)--Sotheby's Institute of Art - New York, 2022.

Includes bibliographical references

Artists have long been called observers, voyeurs, and watchers, and with a particular interest in human behavior and society, they frequently use unknowing passersby as their subjects for works. Curators and scholars explored how artists put citizens under surveillance with photography and videography, which dates back to the early 1900s, years before governments deployed surveillance systems. Since the 1980s, artists have explicitly explored surveillance technology and theory to alert viewers to the rise of surveillance. Today, this genre is called artveillance, a term coined by Andrea Mubi Brighenti in 2010 to categorize art that explicitly deals with surveillance. This genre developed parallel to the rise of mass surveillance which created the current-day surveillance state. Since artveillance dominates the contemporary art scene, I was interested in the history of surveillance technology and themes in art. Although that history is brief, there is a wealth of artworks and studies on the topic.This thesis explores artists who use surveillance technology, specifically close-circuit video, in their practice and how this work has changed over time compared to the rise of government surveillance systems. To properly examine the artwork, each artwork's technological history and broader cultural context is considered, with careful attention to the artists' intentions. The thesis starts in the 1970s with Bruce Nauman and Peter Campus's closed-circuit video installations. The artists did not aim to create a surveillance area but wanted to explore the viewer's identity with their moving image. In Chapter 2, Julia Scher and Lynn Hershman Leeson's work from the 1980s and early 1990s is discussed. Created when state surveillance was on the rise, the artists' work used surveillance technology to critique the systems. The third chapter explores surveillance in a post-9/11 state through Jill Magid and Laura Poitras's work. The artists exploited and exposed government systems to show how the public's privacy is invaded. Finally, the paper concludes with an investigation into the public's relationship with video surveillance, which resembles an apathetic acceptance. Most works discussed fall into the category of participatory artwork, which requires viewer participation for the artwork to be realized. Torin Monahan writes that "surveillant relationships can be visibilized and contested through participatory art" and "uses first-hand experience as a mechanism for raising consciousness and altering social dynamics."1 Since I could not see the works in person, I read many reviews of the exhibitions and artworks to understand the experiences. While there is no replacement for viewing the works, these first-person experiences helped build my argument and connect the artworks to scholarship on surveillance.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798377600138Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

ArtveillanceIndex Terms--Genre/Form:

542853
Electronic books.

The Artist as Surveillant : = The Use of Surveillance Technology in Contemporary Art.
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504 $a Includes bibliographical references
520 $a Artists have long been called observers, voyeurs, and watchers, and with a particular interest in human behavior and society, they frequently use unknowing passersby as their subjects for works. Curators and scholars explored how artists put citizens under surveillance with photography and videography, which dates back to the early 1900s, years before governments deployed surveillance systems. Since the 1980s, artists have explicitly explored surveillance technology and theory to alert viewers to the rise of surveillance. Today, this genre is called artveillance, a term coined by Andrea Mubi Brighenti in 2010 to categorize art that explicitly deals with surveillance. This genre developed parallel to the rise of mass surveillance which created the current-day surveillance state. Since artveillance dominates the contemporary art scene, I was interested in the history of surveillance technology and themes in art. Although that history is brief, there is a wealth of artworks and studies on the topic.This thesis explores artists who use surveillance technology, specifically close-circuit video, in their practice and how this work has changed over time compared to the rise of government surveillance systems. To properly examine the artwork, each artwork's technological history and broader cultural context is considered, with careful attention to the artists' intentions. The thesis starts in the 1970s with Bruce Nauman and Peter Campus's closed-circuit video installations. The artists did not aim to create a surveillance area but wanted to explore the viewer's identity with their moving image. In Chapter 2, Julia Scher and Lynn Hershman Leeson's work from the 1980s and early 1990s is discussed. Created when state surveillance was on the rise, the artists' work used surveillance technology to critique the systems. The third chapter explores surveillance in a post-9/11 state through Jill Magid and Laura Poitras's work. The artists exploited and exposed government systems to show how the public's privacy is invaded. Finally, the paper concludes with an investigation into the public's relationship with video surveillance, which resembles an apathetic acceptance. Most works discussed fall into the category of participatory artwork, which requires viewer participation for the artwork to be realized. Torin Monahan writes that "surveillant relationships can be visibilized and contested through participatory art" and "uses first-hand experience as a mechanism for raising consciousness and altering social dynamics."1 Since I could not see the works in person, I read many reviews of the exhibitions and artworks to understand the experiences. While there is no replacement for viewing the works, these first-person experiences helped build my argument and connect the artworks to scholarship on surveillance.
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538 $a Mode of access: World Wide Web
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650 4 $a Arts management. $3 3168382
653 $a Artveillance
653 $a Government surveillance
653 $a Surveillance
653 $a Video art
653 $a Video surveillance
653 $a Video technology
653 $a Contemporary
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710 2 $a Sotheby's Institute of Art - New York. $b Contemporary Art. $3 2093307
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