Tony Conrad
Tabea Lurk
Tony Conrad

Tony Conrad (b. 1940) has been a well-known American artist for more than 50 years. Celebrated as a musician, filmmaker, video and performance artist, he achieved his breakthrough in 1966 with the experimental film The Flicker. In addition to his film work (including the so called Yellow Movies), his violin performances have also achieved broad recognition. This monograph focuses on about 70 video works produced by the artist since 1977, which previously have not been systematically studied. Beginning from Conrad’s earlier rather materialistic approach, in A videographic view of the artist’s vita the text follows the artists shift from experimental film to a more image-driven videographic approach. The chapter Last call for video comments on Tony Conrad influential interaction with the Buffalo-based group of appropriation artists. Then Video as critique of television interrogates the interplay between (video) art and society as a reflection of the telematic culture of the 1980s. The last chapter, Video in tension with music, returns to the beginning of the artist’s career and comments on Tony Conrad’s identity as a musician.

Die Monografie untersucht das Video-Œuvre des Künstlers Tony Conrad und kontextualisiert es im historischen Umfeld der 1980er Jahre. Die Videoarbeiten und Referenzmaterialien werden kunsthistorisch analysiert, strukturiert und als Quelle gesichert. Die Gegenüberstellung mit Werken anderer Künstler ermöglicht eine Verortung im diskursiven Feld.

1. Einleitung
1.1 Stand der Forschung
1.2 Gliederung
2. Videografischer Blick auf die Künstlervita
2.1 Video avant la lettre
2.1.1 Ten Years Alive on the Infinite Plain (1972)
2.1.2 Yellow Movies (1972–1973)
2.2 Video nach dem Film
2.2.1 Movie Show (1977)
2.2.2 Concord Ultimatum (1977)
2.3 Buffalo is an Island
2.3.1 Tiding Over. Till Tomorrow (1977)
2.3.2 Gestures. Postcards. Images
3. Video als letzte Aufforderung
3.1 Performanz des Versagens
3.1.1 Beholden to Victory (1981–1983) Hail the Fallen (1981) Combat Status Go (1981)
3.1.2 Jail. Jail (1982) / WiP (2012)
3.1.3 Point Blank (1982–1985) Palace of Error (1982)
3.1.4 Sunnyside High (1983)
3.2 Erweiterung der Wahrnehmung
3.2.1 Lookers (ab 1984)
3.2.2 Sip Twice, Sandry (1983)
3.2.3 Height 100 (1983)
3.2.4 Knowing with Television (1983)
3.3 Erotisierung des Blicks
3.3.1 Eye Contact (1985)
3.3.2 Redressing Down (1988)
3.3.3 VIDI VICI (1988)
3.3.4 Egypt 2000 (1986)
4. Video als Fernsehkritik
4.1 The Poetics of TV (1985–1987)
4.1.1 Ipso Facto (1985)
4.1.2 In Line (1986)
4.1.3 An Immense Majority (1987)
4.1.4 Panopticon (1988)
4.2 Auflösung in die Öffentlichkeit (die 1990er Jahre)
4.2.1 Artpark: One Year Later (1991)
4.2.2 Studio of the Streets (1991–1993)
4.2.3 School News & Homework Helpline (1993–1997)
4.2.4 8mm News Collective (1991–1995)
4.3 Public Privacy (die 2000er Jahre)
4.3.1 En Passant im öffentlichen Raum
4.3.2 Blue Car Loop (2001)
4.3.3 Scanty Claus (2002)
4.3.4 Conversation II – Valentine (2005) Conversation I + III (2002–2005)
5. Video im Spannungsfeld der Musik
5.1 Nähe, so fern sie auch sein mag
5.1.1 That Far Away Look (1988)
5.1.2 No Europe (1990)
5.1.3 The Battle of the Nile (1989)
5.2 Jenseits des Violinspiels
5.2.1 Music and the Mind of the Word (1976–1982) Any Time. 100 Songs (1980)
5.2.2 Cycles of 3’s and 7’s (1977)
5.2.3 Accordion (1981)
5.3 Illustrating Music History
5.3.1 Implicating Lully (1998) Landscape is a Wish for Motion (2003)
5.3.2 Escalier du Chant (2011)
5.3.3 Laughing at Leonardo (2008)
6. Fazit
7. Endnoten
I. Anmerkungen zu Werktiteln und Benennungen
II. Chronologisches Verzeichnis der Videoarbeiten Tony Conrads
III. Literaturverzeichnis
III.a Internet-Quellen
III.b Graue Literatur
III.c Writings by Tony Conrad
III.c.i Monographs
III.c.ii Articles in publications
III.c.iii Articles in periodicals
III.c.iv Internetpublikationen
III.c.v Manuskripte / nicht publizierte Schriften von Tony Conrad
IV. Abbildungsverzeichnis
V. Künstler- und Werkeindex
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