Nam June Paik
From Baudelaire’s 1859 dismissal of photography on down, the image-culture of the petit bourgeois “mob” has long served as a provocation to artistic thought, a relationship that reached its most literal apogee in the West with the Pop Art of the 20th century.
HONG KONG — More than US$1 billion of art was for sale at Art Basel Hong Kong, according to insurer AXA ART. But the fair managed to look beyond sales, and also displayed a number of serious counterweights to the frenzied acquisitive impulse.
CHICAGO — Media theorist Marshall McLuhan once said that television is cool and radio is hot. This isn’t a temperature thing, but rather a classification of media based on the participation it involves from viewers.
“In No Medium Craig Dworkin looks at works that are blank, erased, clear, or silent … point[ing] to a new understanding of media.” So goes the back cover copy of the author’s new book, which was released in March by MIT Press. This paratextual statement, while certainly catchy, is a bit misleading regarding Dworkin’s argument as well as the actual nature of his objects of study (some of the treated works, such as John Cage’s 4 ’33” and Robert Rauschenberg’s White Paintings, are well known while many others are not); and it risks obscuring, to some extent, the host of wonderful subtleties, the wily interpretive moves and maneuvers that can be found within the book itself.
It seems fitting to kick off our Videodrome day of art videos with one from Nam June Paik, an early video artist from Korea whose multimedia sculptures and installations challenged the boundaries of art making in the 60s and 70s. Here, check out Paik’s “Electronic Opera #1”.
Immersive exhibition brings together over 200 works from Paik’s five-decade career combining art and technology.
As a recent retrospective at Tate Modern demonstrates, even fitted with decades-old circuitry, Nam June Paik’s work still pulses with energy, breakneck and experimental.
In the recently published collection We Are in Open Circuits, Paik’s prescient critiques of image consumption suggest he probably would’ve been great at Twitter.
Double Lives showcases the sound-based creations of people better known as artists than musicians.
The master of media art created works that are constructed out of TV sets and recording devices that are no longer manufactured and, needless to say, generally irreplaceable.
The strength of the Armory Show — now in its 24th year — is that, just like a mall, I know exactly what to expect when I go there.
At BRIC House, Public Access/Open Networks will feed your nostalgia for channel-surfing.
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
So-called revisionist art history has made room for numerous, formerly overlooked or ignored artists in Western Civ’s recognized canon, but what is that establishment narrative to make of a big-boned Southern gal who played avant-garde cello in the nude while submerged in a Plexiglas tank filled with river water?
Nam June Paik: Becoming Robot, organized by the Asia Society Museum, is the first solo show of the Korean-born artist in New York City since his celebrated 2000 Guggenheim retrospective.
PARIS — Following on the heels of the Jean Dupuy and Robert Filliou gallery exhibitions, a third radical Fluxus-related artist is receiving a museum-quality gallery show in Paris: Wolf Vostell.