Abstract
From the very beginning, museums and the audiovisual industry of television have nurtured the institutionalization process of video in the art domain.On the one hand, the influx of museums has been paramount when it comes to legitimating avant-garde discourses. However, they always showed misgivings in the face of certain practices supported on technology reproduction or “outlying” its coded space along the lines put forward by the video produced by artists.On the other hand, the domain of artistic creation, inasmuch as it belongs in the social sphere, has not been able to stay away of television’s influx and its powerful information, iconic and linguistic flow, just in the same way as contemporary creation has influenced the phenomenon of television.The paper “Coming to the terms with the frightful parent: video art and television” produced by John Wyver, historian and TV producer, as well as professor at the University of Westminster, provides the basis to study the way in which cultural criticism in the eighties exerted an influence in the development of the links between video art and television. This interaction in the form of some sort of domestic tension paved the way for the institutionalization of video production in the terms acknowledged nowadays.
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