Anthology of writings by Philip Brophy. The book is soft-cover 288 pgs 170 mm x 220 mm.
Commissioning editor - Helen Hughes
Introduction: Emile Zile
Copy editor: Olga Bennett
Proofreading: Amy Stuart
Design: James Vinciguerra and Duncan Blachford
Logo & title page graphics: James Vinciguerra
Published by Discipline, Melbourne
Launch: Power Institute, Sydney & IMA, Brisbane
Screenic is an anthology of Philip Brophy’s published writing on art, from 2000 onwards. The focus of the selection is on art which involves screens: projected as film in museums, digitized for installations in galleries, curated as documents within exhibitions, presented as outdoor illuminations on buildings, utilized for the production of VR and AI-generated content, and even painted wall murals derived from televisual screens. The driver for the writing of these articles over two decades is an interest in media literacy within fine art contexts. In particular, the articles reinforce the view that ongoing changes in the mediascape over this period create challenges for artists, producers, curators, viewers and critics — sometimes resulting in a rejuvenation of how media art can be imagined and presented; other times evidencing an anaemic grasp of the contemporary mediascape that whorls outside the white cube.
(2000) Please Stop with the Boring Video Art
(2005) Curating Video Art 101
(2008) The Unradicality of Art: Self-centring Artists, Mediatised Crackpots, and Alchemical Conductors
(2008) Deliverer of Rants
(2010) The Atomisation of Cultural Signage: or More Dumb Semiotics in Contemporary Art
(2011) More Priapic than Haptic: Marcel Duchamp’s Étant donnés
(2012) Countervoicing Politics: Barack Obama 2008 and 2012 Campaign Support Ads
(2012) Copying Doctors — Consuming Cinema: Human Centipede 2 (Full Sequence)
(2014) Frederick Wiseman’s National Gallery
(2014) Pseudocinema and Deus ex Musica: ACCA’s Crescendo Exhibition
(2014) Illuminated Edifices and Audiovisual Effigies: 59 Productions’ Lighting of the Sails
(2014) Mouthing Politics — Breathing Politics: Sue Dodd’s Significant Others
(2015) Tokyo Art Meeting V: Seeking New Genealogies—Bodies/Leaps/Traces
(2015) Talk About Being Fucked Up: Ryan Trecartin’s The Re’Search (Re’Search Wait’S)
(2015) Voiding Effects and Terrorised Language: Video and the Unreality of ISIS
(2015) The Reflecting Screen: How Artists Address Media
(2016) Panoptic Spreadsheets and Political Art: Exit Exhibition
(2016) Banging Boxes and Bashing Women: Cassandra Tytler’s I’m Sorry
(2017) Nam June Paik — Considering Bad Video and Poor Performance
(2017) Postpolitics and Totalitarian Tonality: Uģis Olte and Morten Traavik’s Liberation Day
(2017) De-touchable Technologies: between Dreams and Nightmares
(2019) Christian Thompson’s Bayi Gardiya
(2020) Grant Stevens’s Fawn in the Forest
(2021) Refik Anadol’s Quantum Memories
(2021) Melbourne Central Commercial Mural Paintings