Maeve Connolly
Maeve Connolly is a writer, lecturer and researcher whose work centres on concepts and forms of publicness in contemporary art, culture, and media. Since 2003, she has been a full-time faculty member of Dun Laoghaire Institute of Art, Design & Technology, Dublin, Ireland, where she contributes to undergraduate and graduate programmes on art and media. Her forthcoming book TV Museum: Contemporary Art and the Age of Television (Intellect/University of Chicago Press, 2014) charts the changing status of television as cultural form, object of critique and site of artistic intervention. Informed by theories and histories of art and media since the 1950s, but focusing on developments since the early 2000s, TV Museum includes chapters on exhibiting television; soaps, sitcoms and symbolic value in art and television; reality TV and the social turn in contemporary art; TV archives, television memory and media events; broadcasting and art in the public realm; television talk in curating and public programming; artists, television workers and changing production cultures.

Maeve’s publications include The Place of Artists' Cinema: Space, Site and Screen (Intellect/University of Chicago Press, 2009), an examination of social, economic, political and cultural conditions shaping the production and exhibition of artists’ film and video since the 1990s. Her writing has appeared in journals such as Afterall, Artforum, Art Monthly, Frieze, Millennium Film Journal, MIRAJ, Mousse, Screen, Third Text and The Velvet Light Trap. She has also authored catalogue essays on the work of Bik Van der Pol, Gerard Byrne, Phil Collins, Gary Coyle, desperate optimists, Anita Di Bianco, Vivienne Dick, Martin Healy, Laura Horelli, Finola Jones, Jesse Jones, Alex Martinis Roe, Bea McMahon, Charlotte Moth, Niamh O’Malley, Susan Philipsz and Sarah Pierce. In 2000, she co-edited a collection of texts and artists’ projects on television, with Orla Ryan, entitled The Glass Eye (Project Press, 2000),* with contributions from Matthew Buckingham, Valerie Connor, Michelle Deignan, Bettina Funcke, Andrea Geyer, Brian Hand, Lana Lin, and Dennis McNulty, among others.

She is a member of the editorial advisory boards of the journals MIRAJ: Moving Image Review and Art Journal. and Alphaville: Online Journal of Film and Media Studies (University College Cork), and has contributed as a visiting lecturer to art and media programmes at various institutions, including Bauhaus University Weimar; Central Saint Martins College of Arts and Design (University of the Arts London); Royal Danish Academy of Fine Arts, Copenhagen; Malmö Art Academy (Lund University); Academy of Fine Art, Helsinki; California College of the Arts, San Francisco.

*The Glass Eye is available to buy from Project Arts Centre .






RESPONSES to TV Museum: Contemporary Art and the Age of Television:

Scholarship on the art world’s encounter with television takes a massive step forward with the publication of TV Museum. In this original and intelligent book, Maeve Connolly lays out  a comprehensive anatomy of the shape this encounter has taken in recent decades, focusing not only on artists but also on curators, cultural agencies, and community organizations. Her research base is international in scope, her prose is concise and lucid, and her analysis has a freshness that readers will appreciate. This book leads the field beyond overly familiar binaries - high vs. low, authoritarianism vs. democracy­ - by showing that working professionals in contemporary art do not treat TV as a singular apparatus or set of effects. It is at once a physical object, an audiovisual archive, a source of entertainment, a business model, and a public purveyor of history, and Connolly’s thoughtful analysis traces the kinds of work that are made possible as artists, curators, museum directors, and gallerists increasingly acknowledge television in all these forms. This visually stunning book, packed with well-chosen color illustrations,  promises to be the authoritative text on the incorporation of television and art for a very long time. – Anna McCarthy, Professor of Cinema Studies, New York University






REVIEWS of The Place of Artists' Cinema: Space, Site and Screen

Riccardo Venturi, review of The Place of Artists’ Cinema
in Perspective 1 (the art journal of INHA - French National Institute of Art History) 2013: 183-190.
(Published in French)
.

Mo White, review of The Place of Artists' Cinema,
The Art Book, Volume 17, Issue 2 May 2010, pp 65-66
.

Kate Mondloch, ‘Placing Artists’ Cinema’, Jump Cut 52, Summer 2010.

Robert Porter, Variant 36, Winter 2009: 36-37.

Dan Kidner, LuxOnline, October 2009.