Abstract
This thesis investigates the genesis, evolution and creative contribution of the group of fine artists as filmmakers that comprised Housewatch from the mid-1980s to the late 1990s. While not an artistic movement Housewatch was a sustained, long-term project that had global reach. Housewatch was a group of artists who worked collectively and at times collaboratively on a series of projects over a twelve year period and whose works were performed in the UK and internationally. Using light, film, sound, performance and architecture, these artists produced live performances in site-specific urban environments that transcended the traditional environments of gallery, cinema and house and as such contributed to a re-definition of the nature of the relationship between artist and audience.This study considers the interrelated social, economic and pre-digital technological changes that influenced and enabled the approach undertaken by the group, detailing the opportunities and boundaries that arose that served to shape the creative practice of the project during its life-time. It identifies the key individual members’ creative contributions and looks at how Housewatchmembers interacted; as a group, and with other artists exploring the notions of house and home in their practice and considers the importance of the Housewatch members proximity to close networks and communities of associates/practitioners with whom they engaged and collaborated.
These activities are placed within the wider context of British art during this period and the multi and interdisciplinary qualities of the Housewatch projects are discussed in relation to the expansion of visual arts practice across film, sound, performance and the use of the architectural motif. This case study aims to demonstrate how the group’s events and performances developed and evolved conceptually over a significant period and how group members were able to retain creative independence while maintaining the integrity of a democratically agreed framework. 9The study attempts to make visible the group’s under-reported and under-recognised contribution within a wider context of an evolving and alternative approach to curatorial practice and an expanded cinema supporting a pluralist and democratic sensibility to make art that engaged directly with their audiences. It also considers the key enabling funding support that the artists received from; higher education institutions, in terms of both time, equipment and finance, the Arts Council (ACGB) and other organisations such as Artangel and Artsadmin.
| Date of Award | 2021 |
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| Original language | English |
| Awarding Institution |
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| Supervisor | Jill Journeaux (Supervisor) & George Saxon (Supervisor) |