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.