Twenty years after inaugurated an art form by tinkering with the innards of television sets to create unprecedented images, he is being honored with aretrospective at the Whitney Museum. While his work is still controversial, few deny that this P. T. Barnum of the avant-garde has brought a new perspective to television. VIDE ARTS GURU

slightly built, shy man, he appears to and possibly controversial, event. tapes byup-to 10 artists a month in its By D. C. Delnison find everything, even his own work, The Whitney show is also significant viewing room. Elsewhere, media cen- somewhat amusing. As he turns on in that it represents the first time a ters like the Boston Film/Video eventeen television sets the 17 sets that hang suspended from major museum has honored a video Foundation and San Francisco's hang from the ceiling in the ceiling, his comment, in his apho- artistwith a retrospective. Video Free America have also be- Nam June Pack's loft in ristic, Korean-inflected English, is At the reception in Pack's loft, come established and productive. lower ; an- characteristically oblique: "Ceiling, many of those present expressed the Unlike the first generation of video other 24, standing on I think, is the last undeveloped in- hope that the show would bring video artists, who were primarily sculptors their sides, line the terior space in Manhattan ." He points art into the art-world mainstream. and painters and simply dabbled in wall. And there are per up to an energetic videotape collage Characteristically, Paik himself is the new medium, many of the artists haps 40 more sets scattered around of a dancing Merce Cunningham, a not so sure that is where it belongs. "I whose work is currently exhibited at this drafty fifth-floor atelier. Many of gesturing John Cage and abstract think is half in the art world thesegalleries are members of theso- them havehad their circuitry rewired waves of color. "Also notice that elec- and half out," he said at one point in called TV Generation. (One of the or their broadcast signals manipu- tronic motion, unlike mechanical mo- the evening. Then, turning over a best-known of these emerging video lated to suit Pack's esthetic aims ; a tion, has nogravity." nearby technical diagram, he drew artists, Bill Viola, described his youth few, clustered in a corner and sur- Nam June Paik has always been an two overlapping circles in pencil, in New York as a "seven-channel rounded by electrician's tape and unlikely - and quite disarming - labeling one "ART" and the other childhood.") coaxial cable, are missing their back 20th-century media figure. A tena- "INFORMATION." He pointed to Video art matters to these young panels: works in progress by the man cious student of Zen Buddhism who their common area, filling it in with practitioners because it attempts to who for almost 20 years has been con- neither smokes nor drinks, Paik does his pencil. "I think I am here," he explore the expressive possibilities of sidered the pre-eminent video artist not drive a car, has yet to buya stereo said. a medium that has grown so powerful in the United States and Europe. and has remained almost totally unin- elevision images are and pervasive during their lifetime. On a recent Sunday evening, when terestedin broadcast television. None produced when charged The challenge implied in all video art Paik, dressed in a style that can best of the more than 100 television sets in electrons strike the in- is not only the attempt to change the be described as disheveled, is host to his loft are hooked up to an antenna. terior, phosphor-coated viewer's perception of the cathode- a reception for two visiting French Yet Pack's admirers consider him an surface of a cathode-ray ray tube, to cause people to see it as video artists, the scene resembles artistic video pioneer of the first tube. In 1962, Nam June something other than simply a tool for nothing so much as a television-repair rank, sort of a cross between Roone Paik, then a young delivering large audiences to adver- shop that is running three months be- Arledge and Marcei Duchamp. Most avant-garde musician, bought 13 sec- tisers, but also to provide an interpre- hind schedule. probably agree with the influential ondhand television sets and spent tation of the world in the context of a Very few of the guests that evening French film journal Cahiers du Cina- about a year in his studio in Cologne, massive communication explosion. appear to be surprised by the sur- ma, whose cover story on Paik de- Germany, exploring ways to manipu- Today, many art students regard roundings . Many of those present scribed his work as "toujours amu- late these charged particles. Eventu- television as an attractive and still have already seen these same televi- sants, souvent beaux, quelquejois ally, by interfering with the cathode- largely unexplored artistic frontier. sion sets in European galleries and sublimes." ray tube's electromagnetic field, he Pack's influence on this second gen- museums. Later in the evening, some That estimation is far from unani- was able to splash these electrons eration of video artists is palpable. ofthem even make requests. mous, however. Some critics are against the screen in patterns that Last year, when the Massachusetts Eventually, Paik obliges by turning decidedly less tolerant of Pack's were unfamiliar and evocative . The Institute of Technology's Council for on small groups of sets. The effect is futuristic declarations and wild following year, when Paik exhibited the Arts invited Paik to the school for difficult to categorize: One multi- Dadaist tendencies; others still re- these electronically doctored sets at a series of workshops and a lecture, it monitor collection features quick cut- gard him as a minor artist, a special- the Galerie Parnass in Wuppertal, was a major event. "We had the larg- away shots of soaring airplanes and ist working in a medium of dubious West Germany, the term "video art" est crowd we've ever had for a film- tropical fish juxtaposed with abstract esthetic significance. "Mr. Pack's formally entered the esthetic vocabu- video event," said Benjamin Ber- washes of neon-bright color. The 24 pronouncements abound in exagger- lary. gery, a lecturer at M.I.T. "There was sets along the wail, however, have ated promises his art shows no evi- Nearly 20 years later, "video art" adefinite sense that people were com- been tamperedwith to theopposite ef- dence of keeping," wrote the former still elicits quizzical looks. The vast ing to see the master." And last fect. These televisions, 12 of which New York Times art critic Hilton majority of the work remains largely December, when Paik made a similar Paik purchased at a hotel-renovation Kramer in 1974 in a review of one of inaccessible to the general public; appearance at Video Free America in sale last year, have been altered in a Pack's manywell-attendedexhibits at certainly very little of it reaches the San Francisco, the crowd was so way that reduces their broadcast sig- a midtown gallery . "The art one actu- living-room tube. Yet recently, there large that many had to watch the lec- nals to an elegant pattern of simple, ally experiences is rather modest; its has been a definite rise in interest in ture on, appropriately enough, a tele- stationary bars ofelectronic light. delights are flickering, small-scale video art, particularly among eager As he turns these collections on, and fragmentary, and quickly dissi- video students at colleges and univer- In his SoHo loft, Paik perches Paik offers surprisingly little in the pated." sities. The Museum of Modern Art in front ofapyramidoftelevi- way ofcommentary orexplanation. A All of which should make Pack's and the Whitney Museum both run ac- sions that paint a towering self- major restrospective, opening this tive video-art programs. The Kitchen portrait. His best pieces are a D. C. Denison is a staff writer for The Friday at the Whitney Museum of in Manhattan, perhaps video art's deft combination ofvisual inno- Boston Phoenix. American Art in New York, a lively, liveliest showcase, screens video- vation and ironic commentary.

vision monitor in an adjoining probably also responsible for room. his relative success on broad- fomnerly $19 There are a number of rea- cast television, where his le S14 sons for Paik's pre-eminent work has appeared more position in the small world of often than any other video ollect arainbowofcolors for at XwVs video art. For one thing, artist's. His first commission tt's the blouse with everything going for it-simple clean lines, easy care polyester, though he has always worked came in 1968, when Paik, in a medium that is essen- along with five other artists, and a choice of colors that make it hard to pickjust one. Mom will proudly say over tially corporate in nature, he was invited to WGBH, the and over again "It's My Mothers Day gift," because she'll wear ifagain and has succeeded in developing public broadcasting station in again-with a suit with pants, dressed up or down. Choose from turquoise, violet, his own unmistakable per- Boston, to work.on a program bright green, fuchsia, brightyellow, berry, grape, banana, white, brown or . sonal approach to television, about experimental artists, royal Sizes 8 which puts standard video "The Medium Is the Medi- to 18. sale, $14. By Rendezvous. Westsider Blouses, (D.080), 4th floor, Macy's Herald fare into a new perspective. um." "Each artist had one Square and your Macys. To order, write or phone. In WC: 971-6000, elsewhere: 800- The subject of Paik's art - day in the studio to make a 528-6602. Use your Macy's charge or Macys welcomes the American Express,* Card. global communication, tele- seven-minute tape," Fred vision technology - has also Barzyk, one of the show's di- hit home with a growing audi- rectors, recalls. "Nam June ence looking for a new slant arrived on his day with a on the television age. And small truck loaded with old while many of his less suc- TV's. He set them up in the cessful projects degenerate studio and put on a pair of into anarchistic silliness, it is rubber gloves and a huge pair this combination of visual in- of rubber boots - supposedly novation and ironic commen- to prevent shock. Then he tary that distinguishes his began manipulating the sets best work. "The importance from behind, sparks flying, of Nam June Park's work as the most amazing images comes from the fact that he's appeared onthe screens. And always working on two or the entire time he was doing three levels," according to this, he'd be instructing the David Loxton, the director of cameramen, 'O.K., get thisi WNET's Television Labora- Getthis : ' " tory. "Many of his works are Later in the day, Park visually stunning, but they mixed these abstract images are more than that, because with videotapes of a nude go. frequently he uses his work to go dancer,a visually manipu- make a comment on the tele- lated campaign speech by vision medium itself. This President Richard M. Nixon gives his art a richness that is and shots ofperfect strangers lacking in a great deal of whom he had invited inoff the videoart." street. The soundtrack was Finally, Paik's popularity Beethoven's "Moonlight" owes something to the fact Sonata. The resulting piece, that in a field that has al- entitled "Electronic Opera ready earned a reputation for No. 1," convinced Barzyk and boringself-indulgence, he is a his colleagues that Nam June colorful and exotic character, Paik was just what the broad- an avant-garde P. T. Barnum cast-television industry need- whose work is both lively and ed. Since then, Palk has con- provocative. tinued to work at broadcast Paik has more than just en- stations (specifically WGBH tertainment in mind, of and WNET in New York), course. Before he began where he has produced some working in video art, Paik ofhis best work. was already well known in Many of his accomplish- Europe as an avant-garde ments have been technical in composer and a "cultural ter- nature. For example, Paik rorist"; his performances, spent a year at WGBH, as an many of them with an al- "artist in residence," con- liance of artists known as structing (with a Japanese , were notable for their engineer, Shuya Abe) the extravagant conceits (a 1959 first videosynthesiker ever performance, for example, used on broadcast television. featured an audio-tape col- The Paik-Aloe videosynthesiz- lage that juxtaposed Rach- er, as it has come to becalled, maninoff's Piano Concerto is a sort of mixing machine, No. 2 in C minor with lottery controlled by a console of larrrrrrrrrarraaaarararraarraarrrrrarrrrrrrrrarrrrarararrrrararrarrrrraaarraarrraaaaaraar announcements and record- knobs, switches and dials, Macys Order Dept. (D.080) Please send me the following: ings of Japanese toy cars; the , that allows the operator to Herald Square, stage props included combine images (some of New York, N.Y. 10001 [stern Auan. Size Color 12nd C~ce smashed glass, tin boxes full them deliberately distorted) D Macys Charge 0 American Express' of stones, an upended grand from a number of television Charge # Exp. date- piano, eggs, a live hen and a cameras with splashes of 0 Check (Add tax, delivery) Amt. motorcycle). Paik's video art bright color and electroni- _ is based on the same anar- cally produced patterns and -Name(print) chist, Dadaist impulses, and configurations . Street Apt while his pieces are not Paik has also continued to City State-lip ' specifically designed to be use broadcast stations for his Phone No. ft T-4/25/82 ..r..rr..rrr . funny (though Paik .- and antiformalist assaults on the .r .....rrrrrarrrrrrrarrarraraaararraraaarrrrrrr ...a....raa....a..rr.rr.rrra.." just about everybody else - medium. In one - produced In NYC, N.J ., Conn., add applicablesalestax plus$1 deliverycharge. is inclined to laugh when they by the Boston Symphony Or- are discussed), they have chestra in collaboration with provided a refreshing change WGBH - he was asked to from the pompous esthetics provide visual accompani- that have frequently domi- ment for a program of sym- nated video art. phonic highlights. Paik's con- Paik's wild irreverence is tribution, a movement from

Beethoven's Piano Concerto says. "A good many Ameri- No. 4 in G major, begins with can artists tend to be awfully Saint Laurie introduces lyrical, videosynthesized pat- self-important, very serious terns of color alternating with about their work. Paik is en- shots of the orchestra's string tertaining, which is kind of a the in~pense account. section. Then, a few minutes bad word in formalist art cir- into the piece, a bust of Bee- cles- it's like the word 'deco- thoven appears briefly ; rative' - but people realize minutes later, it appears that Paik is really quite ex- again, electronically distort- traordinary, both as an artist ed ; finally, a hand enters the and as a technician. His picture and begins slapping things are something quite the bust, rocking Beethoven's apart from entertainment. grim image from side to side. . . . To my mind, he's the only As the movement draws to a one of the video artists I've close, a grand piano fills the seen who has thought through screen and catches fire. On the implications of the the last note of the piece, it medium and acted on his falls over . thinking . He's also, of course, Symphony trustees later a very appealing character- learned the piano was a toy very hard to resist - even if that was shot in close-ups, but you understand only every they remained far from eighth word." pleased. "It was not exactly 17 what they had in mind," one Nam June Paik saw his WGBH producer recalls. first television set in a down- "People often laugh when town Tokyo department store they talk about Nam June," in 1952 . He does not remem- Fred Barzyk says, "but he ber being impressed with the really is quite a good thinker. new invention. At the time, he I know he changed the way two years we at 'GBH thought about was 20 years old ; television." earlier, he had escaped with "Paik is also a very clever his family from war-ravaged politician," Barzyk adds. Seoul, South Korea, where he "He can talk to engineers, was born. His father had station vice presidents and owned two factories but lost grant makers better than al- them both in the conflict. most anyone I've seen. He's Soon afterward, they fled to subtly charming; you end up Tokyo. giving him everything. He's In Korea, Paik had studied also quite a pamphleteer - classical piano and composi- he keeps in touch." At this, tion, but World War II and the Barsyck opens a desk drawer impending Korean War made and pulls out a stack of per- it difficult to pursue his inter- haps 30 postcards. (Almost est in 20th-century Western everyone who has worked music. "It took me three with Paik has a similar col- years to find one Schonberg lection.) "If I kept all the record," he says, recalling cards he sent me, I'm sure I'd his adolescence in Korea. have over a hundred," he Once in Tokyo, however, Paik says. was quick to take advantage of the situation . He enrolled in the University of Tokyo in "Nam June Paik Edited for 1952 ; four years later, he Television," a half-hour show graduated with a degree in esthetics (his thesis topic : Finally broadcast on WNET-TV in a guy can move into a higher dress 1975, gave viewers a chance Arnold Schonberg) . bracket without going into a higher tax bracket . to catch up on Paik's 10 years In 1956, Paik traveled to For Saint Laurie makes natural shoulder of work in the United States . Germany. Two years later, business suits, sport jackets and slacks at It was also an opportunity for he settled in Cologne, then a prices that make very good business sense . Calvin Tomkins, an art critic center of avant-garde music. dollars and sense . our suits go from for The New Yorker, to ob- I Soon he received a commis- S149 to S242 . serve Paik's methods. Tom- sion to work at the Studio for ,For the price of a jacket and a pair of kins accompanied the pro- Electronic Music, where slacks at most places, you can have a pair of gram's host, Russell Connor, Karlheinz Stockhausen and suits at Saint Laurie.) on an interview with Paik at others were experimenting All kinds of tropical and midweight wools, his loft . Soon after they ar- with electronic means of com- poly wool blends and summer tweeds . In sizes rived, Tomkins recalls, Paik, position. Before long, Paik and colors `or every corporate identity. wearing a large plaid cap, I himself began incorporating The reason we can sell our suits below is climbed up on a wooden scaf- elements of electronic music folding. "The scaffolding sort into his work. His approach to that we set! them right below. an abrupt turn, They're manufactured right upstairs . Hand of set the tone for the inter- music took view," says Tomkins, who, however, in 1958, when he met tailored with features like French-felled collars along with Connor, joined the American composer John and hand-basted full linings . Paik on his perch, "and I Cage, who was traveling Because there are times when two hands think that it was all verv con-' through Germany on a con- are better than one machine . scions on Paik's part . He cert and lecture tour. Cage So come down to see our spring classics wants to give things a spin, a surprised Paik by announc- for businessmen . Take a cab . twist, and he sets things up so ing that electronic music - After all, you're on an inexpense account . that will happen." as it was then-was "dead as Tomkins does not think, a doornail" and that the fu- however, that Paik's puckish ture direction of music was sense of humor detracts from toward theater . Paik, who his work or its critical recep- had seen his share of dozing Manufacturer of classic business suits. June's wildness, audiences at electronic music Saint Laurie Ltd. tion. "Nam concerts, agreed. "I saw the 84 Avenue_ oe :weer _4th aid 15th Streets. 5th moor New York . N'l 1001 :. Dept . N. his sense of humor, is actu- _: ,h'oUgh Satu-day 9,00 A M. till 600 PM Tnu,,sday t.! 7:30 P.M . Sunday 12 :00' :; 500 PM . (212) 242-2530 . ally very refreshing," he (Continued on Page 62) L . R 'NR- r_ CR Ni" , "~1 -'~LcSOR B~N~ T0 n:JR _-RCER SN ;7~.H 6ROCr'JRES 0 TS :0E N i :800-2L-8660 58

Paik is continually editing and re- People buy art for intrinsic value but Switzerland. Now even editing his work. And although he con- also for tax shelter value, no? Video tinues to perform with Miss Moor- art does not fit in with this part of the man, he rarely sticks with any of his art world. So, I'm afraid video artists more beautiful. video innovations long enough for will be poor for some time." If you've been waiting for { Swissair also departs daily them to become predictable . the mountain to come to you, from Boston and Chicago. One measure of Paik's status in the it's here. The Swiss National But there's more good news. Although it has frequently attracted video-art community is the amount of Tourist Office wants you to If you're wondering what it a great deal of attention, video art has time he spends on the other side of the never been a successful commodity lens . In October 1981, the Anthology know about another beautiful costs to stay in Switzerland, you on the art market. After five shows at Film Archives in New York devoted reason to go to one ofthe most should know that the dollar is the Galeria Bonino, Mrs . Bonino can an entire program to three documen- beautiful spots in the world. strong. What's more, Switzer- remember only one Paik television taries on Paik. And he is not a totally land has one of the lowest set that left the premises - it was unwilling participant in these The price. stolen. Other galleries have not fared projects, which is why lie agreed to inflation rates in the world- much better. "Commercially, video join Cage in a reading of a piece Cage Beginning in April. Balair which makes Switzerland even art has turned out to be almost totally wrote, entitled "Nam June Paik : A w'ill offer re-ularly scheduled more beautiful. unprofitable," says Leo Castelli, who Diary," for the video team of John New York to Zurich the has always had a way with difficult Sanborn and Kit Fitzgerald. (Por- flil?hts from So now you can fly to art. (Castelli founded Castelli-Sonna- tions of this taping will appear on one at low-cost fares ranging from rooftop of Europe any way you bend Tapes and Films with Ileana of seven WNET broadcasts by or 5540--5640* depending on day Balair, or Swissair. May 9. ) like-on Sonnabend) . about Paik, beginning of departure and season. Call Balair at 800-223-1077 Video art's relative novelty is obvi- When Paik entered Cage's sunny, ously one reason for its poor showing spare loft, bowing slightly to all Balair is a Swiss airline and fin New York State, dial 212- in the galleries . "If you've been present, everything was already set an associate company of ! 563-3303), your travel agent or trained in a formal way of thinking up : cameras, microphones and lights. . No matter when you accept rehearsal," Paik said, laugh- Swissair Swissair. about art, you're not likely to "No *Prices subject to change the television screen as an art form," ing, as he sat down next to Cage in choose to go, you'll be flying says Grace Glueck, a New York front of the cameras. "Mr. Cage is Swiss Class . Balair flight per- Times art critic. "By now, people un- very busy . One take ." sonnel are trained by Swissair. Swiss National derstand how to look at abstract art, The reading (which began, "What passengers enjoy but when they look at these video-art is this thing called Art? TV?") lasted So on board, pieces, it's difficult for them to under- about five minutes. Afterward, San- the same gourmet meals and the Tourist Office. stand what the artist is doing ." born and Fitzgerald, clearly in awe of same calibre of service that has The Swiss Center Howard wise is perhaps the most their subjects, left the cameras run- made Swissair the choice of fre- 608 Fifth Avenue energetic dealer in video art, through ning and peppered Cage and Paik New York, N.Y 10020 a nonprofit operation he founded in with questions. The first question: quent international 1971 called Electronic Arts Intermix "Nam June, did you really cut off Mr. travelers. (E .A .I .). Wise now represents 75 Cage's tie in that performance in Ger- Of course, those who video artists. The market for their many?" want more flexibility tapes (which rent for between $50 and Later in the day, back at his loft, $75 for one-time use and sell in the Paik relaxed with a cup of tea. As can fly with Swissair range of $175 to $300) is still largely usual, just about every horizontal sur- any day. Apex restricted to libraries, universities face in the immediate area was fares from and museums . Paik remains, by far, crowded with soldering guns, capaci- E .A .l .'s most popular and successful ', tors, resistors and technical dia- New York artist. grams. Paik and his wife of five range from Despite his popularity, Paik does years, Shigeko Kubota, also a video ; $557-$822*. not come even close to earning a liv- I artist, have long since lost their pri- ing from his tapes . He estimates his vate battle with television technolo- share from rentals and sales of his gy. Their bedroom is filled with a j work at about $3,000 a year, which dozen old, black-and-white television means that, like most video artists, consoles which, Paik insists, are the he has to make his money in other only sets that have the right circuitry ways . His main source of income at for a multimonitor installation he is this point is his professorship at the assembling. As a result, both he and Kunstakademie in Dusseldorf, Ger- his wife now sleep in the middle of the many, where he spends a few months 1 loft, next to a quartz heater, under the every year. The Akademie (where his hanging television sets. ("Yes, they long-time friend and associate Joseph j do make me a little nervous," Miss Beuys, the German avant-garde art- Kubota admits.) ist, is a fellow faculty member) pays Sitting under those hanging televi- Paik in the vicinity of $20,000 to l sion sets, Paik ponders the future of $25,000 a year. Though the public and video art ; he draws a familiar anal- private grants he managed to garner j ogy. "Now video art is at the stage in the 1970's are drying up, Paik now that photography was at in the 1930's supplements his income with an occa- and 40's," he says. "At that time, it sional three- or four-day workshop at was recognized as an art form by a university or media center. many, but high-art collectors had not Yet while many video artists are been found . So photographers worked frustrated by the lack of financial in the commercial area. Many video support, Paik is, as usual, philosophi- artists are also working in the com- cal . "People don't expect to pay for mercial area now, but I think that television," he says . "Television is ~, could change in the future ." like water . When you want to watch, j Asked about his own future, Paik you just turn it on like a faucet, and looks around the loft . "After Whitney then, later, you turn it off . People show, if I can afford it, I would like to want to see video once, maybe twice, get Shigeko and me a normal apart- but thev don't want to own it. When ment," he says . "I don't need more you work in video art, you are really money, just a modest studio apart- ment. Then, I think, I will be very giving it away. Also," he continues,  "video art is not a good investment. happy .

THE NEW'f'JRK TIMES MAGAZINE APRIL 25 . 1982 63

VIDEO ART Continued from Page 5,q limits of electronic music," peared in an evening gown he says, "and I wanted to ex- and played a few measures of pand electronic music to in- Bach's Third Cello Suite, then clude electronic visions." stopped and removed an arti- cle of clothing- She played a For the next few years, while few more measures, stopped continuing to experi- again and ment with electronics, Paik removed another embarked article of clothing . The piece on a series of continued in this fashion until avant-garde performances in she was almost completely galleries, museums and con- cert halls in Dusseldorf, nude . Co- The review in the next logne and Stockholm . Prob- ably the day's New York Herald Trib- most frequently re- une began counted work of this period is : "There were some strange doings last "Etude for Pianoforte." The night at the New performance, which School . . . .- took (Three years later, Miss place in a studio in Cologne, Moorman was arrested for in- began normally enough with exposure Paik playing Chopin decent during her on the performance of Palk's piano. It ended a few minutes "Opera Sextronique ." She "La Chaise" by Castro... later, when Paik jumped off the stage to where was convicted in a highly Picture it. by your picture window. Distinctive John Cage publicized trial and given a of was sitting with the pianist suspended sentence-) line, an invitation to ease, yet so unassumingly David Tudor and Karlhemz practical . Beneath the classic look lies the famous Stockhausen, produced a pair In 1965, the Galeria Bonino Castro construction, including our "Featherlift" of scissors, cut off Cage's tie on 57th Street in Manhattan at the knot, poured a bottle of gave Paik a one-man show of mechanism-built to last for generations. Opens shampoo over Cage and his "electronic art," the first like a book to sleep two in blissful comfort . Tudor (Stockhausen was in a series of five he would Select from a whole gallery of designer fabrics. spared) and then forced his have at the gallery during the way through the crowd and next 11 years . "Nam June's out the door- A few moments shows were always very ex- later-, a telephone rang in the perimental," Fernanda front of the room . It was Paik Bonino recalled recently . "It calling from the bar down- was always very messy - New York, Paramus, Washington, Alexandria, Miami, Ft . Lauderdale, Boca Raton and stairs, announcing the end of wires everywhere - and other principal cities . Main showroom -43 West 23rd St . (The Castro Building), N.Y .C . (212) 255-7000 the concert. something was always break- Contract . Export & Mail Order Divisions- 1990 Jericho Turnpike, New Hyde Park, L. I. (516) 488-3000 ing down . Most the Performances such as of time, these, which caused one Ger- Nam June used to sleep under man music critic to label a table in the back room, so Paik "the world's most fa- he could attend to the pieces. mous bad pianist," surprised Whenever he had a show, it even Cage, who wrote soon always looked like there was after that Paik's "work, con- some sort of happening or performance going on, it versation, performances, but daily doings never cease by was just Nam June." Critical reaction to these turn to amaze, delight, shock and even terrify me." shows was surprisingly favorable. John Canaday, Paik arrived in New York then The New York Times's for the first time in 1964, and art critic, wrote an enthusias- almost immediately made his tic review of one of Paik's presence felt by staging a first shows at the Bonino Gal- number of avant-garde per. lery . He described Paik as the formances that included "John Cage of the ordinary music, nudity, television domestic TV set," and went technology arid a large, jury- on to say that "the exhibition rigged robot of his own de- has unquestioned fascination sign, Robot K-456 . In most and probable potential for ex- cases, the music - and the pansion." nudity - was provided by The notoriety that sur- Charlotte Moorman, a young rounded Paik's early work - cellist and well-known inter- especially Miss Moorman's preter of avant-garde music topless performances - has who, after overcoming her followed Paik for years and initial shock, assisted in has led some to classify him Pack's plans to bring sex to as little more than a particu- music . "Sex is major theme larly tenacious holdover from in art and literature," Paik the heyday of modern-art explains . "Why not in "happenings ." But Paik has music'?" rarely stood still long enough to justify the charge . The Watch a 2,000 year old ritual. Pack's first show, at `he art of g!assb owing began in the Romar Then the electronic clutter in his loft in a variety of shops discover glass New School for Social Re- clearly attests to the fact that ~mp~re-and cc-times today in the Steuben souvenirs, books, objects by glass artists and search, was typical of those he incorporates the ever-ex- Glass Factory, where skilled craftsmen gather gobs craftsmen, Steuben crystal and Corning products. of meter glass a,nd transform them into fine In Corning . that followed . It included a panding tools of television stroll down the restored turn-of-the number of crysta' . century "Market Street and visit the new Rockwell color-television ex- technology as his palette. Re- is a ritua' yo'.: can observe any day on a trip to Museum of Western art (Opening in June .) periments, Park's Robot cently, he has worked with the Corning Glass Center. Come visit the Corning Glass Center, in the K-456, a few sculptural pieces both laser and satellite tech- And in the Museum of Giass you can see beautifu' Finger Lakes region of New York State. and the premiere of Paik's nology. Even his videotapes, 20,000 objects-illustrating man's use of glass first work for Miss Moorman, perhaps his best-known 3r_ ove centuries . __ . ._ .  : S ^rk "Cello Sonata No. 1 for Adults works, are in a constant state n the Hall; of Science and -austry. you can set Only." Miss Moorman ap- of flux. Like a nervous poet, p,I;ch-c ,t"nr displays in motion and see fi'ms and demonstrations- Corning Glass Center and the magic of a lampworker. Corning . New York ...... WaaWilaaaiaa"liiti"Wi"""tA " A ... a. ..".. .. ~.iiiiioii " "" . " """"""" w"a o" sa "aaaaaa " aaaaa m.uaatu Woi'wW ouaWOai"" oai"" o .ut .taaL uuwa" ua "" iioiiiiiiia"" Wiii~iariiiiiiiiW .alA ia """ . "" "" a"" . ra "" arrarrrrrat a " a,sa .."" a "a . ."" woa " wa "aaa" a"" a " aaa"sai """ia "utae ."woAU "tow."A """ta " oaa"AataL """tuAaa."" tu"" wutatau1L" aaaai"" lauaa"" a" uualuarai " tu"uu""uauw.aaa "ALAa "a" r"" ta "a """" . "a "t1 iaa'~ " +m "" aa my . . ". .a " aaaalaW""" na, .aa "a "aaa """ AaaeAaarA"" tata itae """a"utA.uA "toa" taAi 1" taaraauAUala "ua " aLaua" uuaauwauLaAUA" " "uuaAUUrua. u.a "aau. uaaaa """" lAa " " " .a "" r"" aa! ..aaaaaaa "aa " aaaa "a"a "u" utAU "autoAa "AA .Aa"ua " AwauaauuAauiiua" A" a"taa .wA "u"u" uiuuau .atauusu .ua""uaaa1" .".ua""u1uu .u "aaa "a"tata """""""i """" aa . ." i;; 'waraa aaaaa "" a a " t+aa "a """ a ".ta" r"Ataa. a """""""""""""a " a""" a" ia " "" to " " a" AAaauAA" auat .u "uu~".uuau"a "" """ . """" a.uu" ua "a "i " otA.are "aA aa+ " aaa" aW "araaa " ia,ra .maa ~a a "aaaaaumAaaaaa"tat "aa " .ua " ua "u." AU .uu~ "" L " aa ...... ~ . .,~ ...... _, . aaaaa .a~~aAfmeamm """r "A.Aaa "arr Laaa " aa "aaaaaaataaamAraaaaaAaaaaa!. " a .aa..euauaai " t w.a .awa "aawa "" .A uutASaaaaa" uuaaaAat Aurawaaausaaear "" ae muaaaaaaiaaaeaaa'.aiaaa "" a!. u"aaraaaeAaata "" t uAraaa .a uaA "" i" A. vaaaata .ralaa uA "t la ".A "aamaaaaai" a iaA."""maaaa """i aat"AaA"1".aaaaa "" ...... a.a ...... ae .. utaur. .""..aaa..." .aaaaraA,.. .. . u"uaa " l~ 1" uraaa "eaiAa " Al . A11, & IAAA aaaa . lauuaa a "ta aa1 a...... u"aa "ia .. .. .aaaa. a,. The Whitney Museum of uuauaaaaa1"..a " ."Aa~ uua" AAA& 1"""""""lraAAa&"" a"" ..A .1 1.uuaara"ealaaap uauuaaaawe "ut American Art " uu .aaaeta..Wa .AAAAA A"" A " ,1 I.aAAAaAaaaAaAAaA 945 Madison Avenue at 75th Street, NYC "u.uaa " .teaAAAa : 1."a..uaaaa .aaAa.~ uuu.a "a"uaaaa uuuuuaaa .aa is honoring au .."u ua aa " "Aeuuau .ara "a 6aA:Aa"AA :A " aA1:I, ...... aaA 1 " ....a.... ""

IAUA."uau.aaaui"AaAr auaau. . . 1.ea"...... aA&...aAA... NAM PAIK a.&&& "A" DYNE 1aA"ata "" aaa"""Aal AA.."""".. 1& '%'a With a One-Man AAA1L1%A&&A&AA"AAA"aaatawaeA"" 1AAA .AA"AAataa .AAA] "AAA".AA"A&AAaA .A ...... :...... " RETROSPECTIVE EXHIBITION IAA"Aau.uuuua Aaaa .aa."aa ...uai :'1&aA.AAAA 1a a""""",&a"" a"" April 30 June 27, 1982

1 """""""""""""""" .i The entire fourth floor and the Film/Video Gallery on the second floor . . .a ...... , 1a ...... r~ ...... of the spacious four-story Whitney Museum of American Art are 1""" A"""""""""" e given over to the Retrospective, which consists of video installations, Iaa".AAA .eaa .."aa~ ...... a ..". ....a . video sculptures, videotapes and live performances. lataaa ".A .aa"a "a ", a.. ...".....a ....;

L..e .. .A ...... a .a "aaa"A Among these are: .~4" ...... THE TV GARDEN, where numerous TV sets will be playing Paik's ::::::"::"::AA "Global Groove" and other of Paik's well-known videotape programs

; .Aa...... A ...".. amidst a luscious garden of plants and flowers. taAAAAAAA..aa.AAA 1Aaa ."aa ..AAaA .A " a...... A ... "... "~ 1 """""""" """"""""". THE TV CLOCK, 24 TV sets, each indicating one of the 24 hours of the " .AAAAAA .AAAAAA1 " a &A "aAAaAA "AAAAAA "A/ "aauuu.auwaAAr u"AAUauaa.wuu, day/night...... A .aaau.u" .u1.1.uAa1u .. aaaa.aua.a " 1AAA "AAaw .w .AAA"AA " uuu"Aiuaa"u Ia ..a .aa. ..Aaataa TV FISH shows tropical fish in 15 aquaria, behind which 15 TV sets u.uuA .a ".uaa ...... ". .. ;Y 1AA1 "" wAei .AAA . .. display similar fish swimming on their screens, thus superimposing auu.a "aau".u .~ A a" au ".a1,A&& A.. live fish over video fish . . .A...... uAt a"saauauataeu!"y .AeAAA .atAAaA.... .", la . .a.A."""""""""""...... / ,"""""...... LASER VIDEO PROJECTION, developed by Horst Bauman, projects laser images from Paik's videotapes across the gallery walls . A New a.u "uauti au "Anti-Gravity, " Nam June Paik "uAar "auuui York premiere . AaAa""""" """""allr Charlotte Moorman performing on F aAA """...... """""1 . .."""" . """ "" "" ...... A""" "" A .a """" AAAAAAAAAAAA, Paik and Charlotte Moorman will continue their long-standing col- AAAAA.AA&AAAAAAat, AaAAA.taA . "a :AAaA" a.a.Aa" "aaa "" uta, laboration, which began in 1964, by giving two evenings of per- a1 uu a"a"AaAAaaarr .A .."...... , formances on Wednesday, June 2, and Thursday, June 3, each at ,...... a . .a .: 8:00 PM . ,A AAAA AA "a.AtaAaar uu .atumua+ s "uua. ..uaaa".r Charlotte will LIVING VIDEO SCULPTURE, liuA .uuaauu.a . Moorman perform Paik's AAAA 1"""""""""A "" """""" "" a "" A"""""""""" a" CONCERTO FOR TV CELLO, 1971 . Times to be announced . 1..aAaAA .a .a " AAear. a.auu .u "uuu. laa.auaau .uaaati u"uua uuuuu 1tau .aauuataa"a LAAAAAAAAAAAAAAAA : There wilI be a panel discussion of Paik's art on Wednesday, May 21, at 1LaAAA""""""AAAAAAAAAAA" A """""" A"""A 6:30 PM. Participants will be Pontus Hulten, Director of the Museum of

A. .ata&&& Contemporary Art, Los Angeles; John Cage, composer; Dr. Wulf IAA"""""A"" 1aw".A."aAAa . Herzogenrath, Director the Kolnischer Kunstverein, Cologne; David aauuua .auuu, of "AAAAAA& I.aaAA"AaaAAAa&AAa.AAAAA, .a Ross, Director of the Institute of Contemporary Art, Boston ; and ...... ". . .""""""""""""""...... L John C. Hanhardt of the Whitney Museum of American Art. aAAAA AA . . 1" A" """""" a. 1 .a.aAA .a " Aa ". ." a. " "A AA 1 AA. AA .AAAAAAAAAs A definitive and scholarly catalogue published by the Whitney """""""""A""""" A" i 1Aa...A ."" A. .Aaaa1. Museum of American Art in association with the W.W . Norton & Co . atatAaaaaAAAa"AaA: ...... ".." ,a .....eA...... A. will accompany the Retrospective...... a ."....;.

.. .A ... . .a ...i John G. Hanhardt organized the Exhibition and the Catalogue. ,AAAAAAAAA ". ." .A .. I.Araaa "AAAAA&AAAa4 e.ua.uuu .uu a All of Nam June Paik's video programs, including those shown at the Retrospective, are available from ELECTRONIC ARTS INTERMIX, INC. "'Al", .. ..lift A Catalogue is available from ELECTRONIC ARTS INTERMIX, INC. . A a a A AA 1 A.AAA A AAA AAAaIs AAAA".a.: .a ...".a ....a ..A ., 1Aa.A .AAAAAAA "AAwA . listing and briefly describing Nam June Paik's videotape works and .a ..... aAAaa w..., those of seventy-five other distinguished video artist/producers .

A AAI&11 Write to ELECTRONIC ARTS INTERMIX, INC., 84 Fifth Avenue, New 1..""...."....."...... "...4a ~~...... ". York, NY 10011 on your institutional letterhead for a complimentary copy, or phone (212) 989-2316 for information .

..u . .uuyuum, uuuau"uuual iauuaauuuara ", .ur.uA".. &,a a"aa! uuuaaaautAruaauuuuA"Aa ..'. AAaua...r "uuaa" i I.tu.auuuu .ea'~ .AUUUUauuaaw uuuuuuura. uu u""" am " u.. uuuu .a i"" a`~ uuA..uuaa" eAa" uuu a"A.a "a" aaaa: uauuuA"a"tAaA " "ruuuuuaaraaAa uuuuaaa" ."A1aA . .eau " &AAru .a .a 1aAAAA "AAY" AAAAA "A . AA """" A "AAAAA "AAA " aalIAa .aawAAAAaeaaaaa.awA .AAaa . IAaai "aaAA aAa"ae " ": .._. "aA "" A&AAAAAAA""iuAAAAAAAAAAAAAAAAAAAAAA. .~._ .A "" """" AAAAAAAAAAAAAAAAAAA AAAAA AA-A ."a"" A """" AA "AAAAlAaA """ .a """ AAA"""""""" A" A" A"""" 1AL."""""" a"""" AA"""A"""" . " 1"!L """" Aa """""""a """""""""""A """"" A"""""""""""""""""" A "" 4A """" A"A "" A"AA """""" a "AAi """""""", AA """" .. . " "A"" a"A& . _ _ e use d ® " 4p44.9. RR'" SIS 4C9LIRS F ------a "a "" AAAaa "" o .a"a Ws raAalaaaaramra """a ." rr """ a."" .a" a" iaAraAArAaaaaam ""aA.a.. ", ies " !a "aAAA"AearmAA" aa. .a," aa . ., aaaammoiiW" ." amioiiWia" " a"""a ""a" . . " " a " . rr . Aaaa""awa." a . am ,A"""aA u"" A.a .aaaaw .aa " 4" a " a"" iA"" A" .a """" a" AAAUAa" a "AaaA """""laraaaeaea!a. "aaaa"""." :aa" alasraaa""" ..A. aA" raa""""Aa ""1 . t" ra." aaawA"aaiaa"" au.l"aalaWarrrra...oa.a . . . . .~..".L..~...""...: "tA"aaAA aAAaa&"A iaa .".raWa "aa"..AAaArar~~ .uw" u""AuAaAaa""Aaaaa""ri. \""L"""""""" a""" A ",

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r...... A .. The TV Lab at WNET/CH 13 "L AL A&LA.AAA r...L...... A....aA'".A

presents

uuuAa"u "maAm The NAM JUNE PAIK RETROSPECTIVE `.Aa..au.uA"AUU.AUeaua"u"Aa rA.u.""o.uA "LLaL """ A """ \.A."...... "...... a

AIR A""aAAA ON THE ,auiu""Aau .uaaL.um Aa"a"""..atuA"A A. "a "Ia,"AAA : """ sLa"uauua""""""""" I May 9 through June 20, 1982

in concert with ...... " AA . " .AA ...... , "AAA "A"A"A"A&A .A"""Aa The Whitney Museum of American Art i" a.AAAAAAAA " ."""a

u The programs will be aired on seven consecutive Sundays at midnight .

MAY 9 12 :15 a .m . "A Tribute to Nam June Paik : Video

Portrait of a Man Who Won't Sit Still" A& &A

by Sanford/Fitzgerald, 1982 . Guest stars : .AIV... p"L"".LLa...a.".a.A"""..LraA...: John Cage, Marcel Duchamp, Charlotte 4LAAALAa " a. hAa:~::::a, AL::.:.:a:""AAaaa Moorman . Abnormal approaches to the . para-mundane . .AeA...""""""""...A.a ..A.A" """"""""""" A""""A uuLAau"".aaa""Auaaa" uaa uu"Aa".6AhAu"-A".AAA. 10 ""AA""""""""" LA.ai" MAY 16 12 :00 a .m . "Allan 'n' Allen's Complaint," with o, A . Ginsberg, A . Kaprow, and S . Kubota, ILLAauu.uu "aa uuu, ...... ""Lau...... , 1982 . I .a.i" u.u.".AAA.aa." O " AUU ".uuu "" a O 1" ..u..u"uuaa lAuuauuu.LaauLU".ALUuuu", MAY 23 12 :05 a .m . "Global Groove," with J . Godfrey, 1982 . [ua "Aa"" .u .aaaua

0- MAY 30 12 :30 a .m . "Merce by Merce by Paik," with LaLaaALLa moa.u~ FAa.uaA"a.uA"AAaua"ua.uam. . M ~u"uuaur.Laua M . Cunningham, C . Atlas, S . Kubota, 1975 . ,.AAAA." AAAAAAAAA .. Q 0 r JUNE 6 11 :55 a .m . "Media Shuttle : Moscow/New York," with .,..Ara.A..".raaaaua..e.... Dimitri Devyatkin, 1978 . &""""".A* irlotte Moorman performing on Paik's TV BRA FOR LIVING SCULPTURE ~AAA&I&aar.wA.aL ".a.a" 12 :08 . "Guadalcanal Requiem," with Charlotte JUNE 13 a .m "" A""1 L"aAA Moorman, 1979 ...... ".aaa. . .a..iaa" ~4&- .. ., .aa """"""""""""""A .AIAAAAAIIII,allAa """""""""""""""""A"""A""aA""""""AAa. JUNE 20 12 :23 a .m . "A Tribute to John Cage," 1973 . .A"A&" a4A&&AAA ." w "Aau."uua".AU".A""u. """.a.Al &A4"u. "aa .a "".aI A u "aL"AAAaaAa"""( A, AALa"aA"."" Aaa. ~uu.AAU.ruiu.LUU"".aaa" r".+ I""" A""AAL "A " a ,pAUUWUau"uLa""".aamaaAa . pLAAau\uauA"""AauAAaaAaa"u." aw. In addition to the above programs, Paik's videotape programs

include the following : ~...... A A I" G...... ~

"Nam June Paik Edited For Television," 1975, with Russell Connor

and Calvin Tomkins ...... }...... AAAAAAAAAAAAAAA"A "Suite 212," 1977, includes early works . .LA"".LA.A"A.""".A.AAa...""..ALAA. a .u"u"uu" La "You Can't Lick Stamps In China," 1978, with the late Gregory L".."" .AA a" AA ILUa ".u.u" uA44 uLAUUUAA A . . " . . " ...... Ad Battcock . UA."A.".AAA.LAA "Aa " """"""A rAAA "..LLaa .AAA "Lake Placid '80," Paik's winter sports . AAA&4AAAAA&AAAA""A""""""A".""":: A

"My Mix," 1981, selections of earlier works . u "A""au " LauAwA"A ." aA .Au"""uA.uAAaa" AA. ".a"uA ~L "".LL.aA.aLLA".A

All the above programs are available in video cassette formats from ,..A "" A ELECTRONIC ARTS INTERMIX, INC . Write ELECTRONIC ARTS INTER- \A 1% A . .A MIX, INC ., 84 Fifth Avenue, New York, NY 10011 on your institutional "uAuuAA.uAAA""u"uuuA.u"u letterhead .

IA 'A'

01 Most of Paik's videotape works were produced in conjunction with

the TV Lab at WNET/13, David Loxton and Carol Brandenberg,

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