“If you [make] video art, you might be happy if 2,000 people saw your work at a show,” Kreiss said. “But then it disappears, and then what? This could be online, on air somewhere all the time, and millions of people could see it. Instead of disappearing, the works have a second life on our channel. It’s an institutional work to make this accessible, this richness that is hard to see in its whole.”
This, ultimately, is what is provided by art on streaming platforms and TV—widespread access to an immaterial archive. And while various organizations might focus on the commercial potential of that access or the curatorial possibilities of that archive, the platform they’re experimenting with is more than its component parts.
“It’s not a gimmick, it’s not a way to reach an audience,” Nichole said. “It is a critical engagement with the technologies which now constitute our day to day reality.”