Believe Television Show: Chris Burden’s Provocative Use of the Medium
Chris Burden’s foray into television in the 1970s was more than just a series of commercials; it was a profound exploration of the medium’s power, influence, and its ability to shape belief. While his performance art often involved physical risk and discomfort, his television work delved into the psychological realm, questioning how authority and mediated reality construct our understanding of the world.
Burden’s use of television sets in performances like Do You Believe in Television and Velvet Water highlighted the voyeuristic nature of the medium, distancing the audience from the performer’s often dangerous actions. This separation created a sense of alienation, prompting viewers to confront their own passivity in the face of mediated experiences. His commercials, on the other hand, directly inserted his art into the flow of mainstream television, disrupting the familiar patterns of advertising and forcing viewers to question the authority of the medium itself.
Burden’s early television work was heavily influenced by the manipulative tactics of mainstream television and the growing awareness of its impact on viewers. Academic studies in the 1970s revealed the negative effects of excessive television consumption on mental development and critical thinking, reinforcing the idea that television was becoming the primary source of reality for many people. This manipulation was further exploited by political figures and advertisers for their own gain, highlighting the insidious power of the medium.
Inspired by this manipulative potential, Burden and other artists sought to expose the underlying mechanisms of television’s influence. Their work aimed to deconstruct the medium’s psychological hold on viewers by appropriating its format and content. Artists like Bruce Nauman and Dara Birnbaum created disorienting installations and video works that challenged the passive consumption of television, forcing viewers to engage with the medium on a more critical level.
Burden’s most notorious television piece, TV Ad, featured a disturbing 10-second clip of his performance Through the Night Softly, showing him crawling through broken glass. Aired during primetime on a local Los Angeles station, the ad shocked viewers with its stark imagery and stark contrast to typical commercials. This jarring juxtaposition highlighted the absurdity of advertising and the often-unquestioned acceptance of its messages. By inserting his own art into this commercial space, Burden disrupted the flow of consumerism and forced viewers to confront the reality of his performance.
In Chris Burden Promo, he satirized the art world’s established hierarchy by presenting himself alongside renowned artists like Leonardo da Vinci and Picasso. By directly associating himself with these masters, Burden challenged the traditional methods of validation and questioned the authority of art critics and institutions. This audacious self-promotion, delivered in the style of a typical commercial, further exposed the constructed nature of value and reputation. He cleverly used the language of advertising to subvert its intended purpose, highlighting the inherent absurdity of self-proclaimed greatness.
His final commercial, Full Financial Disclosure, parodied the post-Watergate era of transparency by revealing his modest income and expenses. This seemingly sincere act of financial disclosure not only challenged the perceived wealth and success of established artists, but also revealed the significant financial investment he made in his television work. By exposing the costs associated with accessing this powerful medium, Burden underscored the economic barriers to artistic expression and the often-hidden financial interests behind televised content. He revealed the significant portion of his income dedicated to buying airtime, highlighting the financial commitment required to challenge the dominant narratives of television.
Chris Burden, stills from Full Financial Disclosure, 1977. Courtesy of the artist and Gagosian Gallery, © Chris Burden.
Burden’s performance Velvet Water, in which he nearly drowned himself while being observed through television monitors, directly implicated the audience in his ordeal. The monitors showed Burden struggling to breathe underwater, forcing viewers to confront their own inaction and the distancing effect of the screen. This unsettling experience highlighted the passive nature of television viewing and its potential to desensitize viewers to real-world events. The juxtaposition of his physical struggle with the mediated image created a powerful tension, forcing viewers to question their role as passive observers.
Ultimately, Burden’s work with television was a complex and multifaceted exploration of the medium’s power to shape belief and influence behavior. His performances and commercials challenged viewers to question the authority of television, confront their own passivity, and engage with the world around them in a more critical and conscious way. He didn’t aim to compete with television’s vast reach but rather to expose its underlying mechanisms and prompt viewers to question the reality presented to them. His legacy lies in his provocative use of the medium to challenge conventional thinking and inspire a more critical engagement with the pervasive influence of television in our lives.
