Until You Get to Know Me
Millennium Film Journal, Spring 2013, no. 57, pp. 74-83
The emergence and proliferation of video art played a role in the disappearance of television in galleries and museums. Author Kenneth White contends that artist Tony Oursler's work employs the modes of television rather than "painterly or cinematic" conventions often seen in video. The effect is a repressed 'seeing at a distance,' to incite the original meaning of television: 'seen from afar'. The technical and philosophical implications of such an undertaking are discussed in this article through Oursler's video works from the 1970s to 2000s.
ITEM 2013.154 – available for viewing in the Research Centre
Videos, Artworks and Artists Cited
The Influence Machine – Tony Oursler
TIMESTREAM: I HATE THE DARK I LOVE THE LIGHT – Tony Oursler
Good Things and Bad Things – Tony Oursler
Life – Tony Oursler
L7-L5 – Tony Oursler