Amanda Kim’s documentary shows how Paik anticipated the dizzying ways in which electronic and digital culture would transform human discourse.
Nam June Paik
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SFMOMA Presents US Exclusive Retrospective of Visionary Artist Nam June Paik
Immersive exhibition brings together over 200 works from Paik’s five-decade career combining art and technology.
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The Raucous and Frenetic Energy of Nam June Paik
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.
Posted inBooks
“Why Is Television Dumb?” and Other Musings by Nam June Paik
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.
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The Artists Who Led Secret Lives as Musicians
Double Lives showcases the sound-based creations of people better known as artists than musicians.
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Reinstalling a Transcendent TV Artwork by Nam June Paik Decades Later
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.
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Searching for Trends at the Armory Show with Empty Pockets and a Drink in Hand
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.
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The Political, Pornographic, Experimental World of Public Access TV
At BRIC House, Public Access/Open Networks will feed your nostalgia for channel-surfing.
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The Triumph of Revisionism: The Whitney’s American Century
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.
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From Calder to Kruger, the New Whitney Museum’s First Show
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
Posted inBooks
Topless but Far From Helpless: Charlotte Moorman’s Avant-Garde Life
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?
