![]() With visible sadness, Hughes revealed that his earlier enthusiasm for television had waned, even by comparison to print: ![]() In that year a new edition of his book The Shock of the New was issued, bearing a fresh introductory note. As with so much of the modern art he detested, the shock factor becomes boring when it lacks depth. He praised the screen for its ability to communicate enthusiasm, something he clearly thought compensated for its shortcomings.īut by 1991 the novelty of the art doc had clearly worn off. Hughes’, of course, were among the first of their kind. A reader is used to the printed page, and could soon become acclimatized to viewing art in 2D as more art documentaries were aired. ![]() He opened the first edition of his book (originally a mere spin-off of the series ultimately, as Hughes himself said, something that far outlived it) with the confession that television can be no substitute for the true experience of art. ![]() Admittedly, he’d always been slightly sceptical. ![]()
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