Kearns, Mary Ann
4 records
Origins: REdiscovering the Future of Video Art Bibliography
Origins: REdiscovering the Future of Video Art Origins: REdiscovering the Future of Video Art. Program catalog contains biographical information on Benton-C Bainbridge, Steina, Walter Wright, and Ben Piper. Origins introduction by curator, Mary Ann Kearns. Also features photographs of The Experiment…
The Role of Technology in the Art of Nam June Paik: Paik's Video Sculpture Tools
Nam June Paik advocated humanizing television by treating the set as an artistic and educational medium and by promoting television as a vehicle for aesthetic and philosophical expression; he physically altered television exteriors and inner circuitry to disrupt rasters and broadcast signals and created distorted images, videotape loops (notably a twisted Richard Nixon face, 1967) and television sculptures such as Zen for TV (1963). He exhibited techniques in a 1963 electronic art exhibition and premiered his first videotape in 1965; installations and prepared sets were shown at venues including Galerie Parnass and Wuppertal, where audiences could manipulate microphones and signal generators. Critics and publications cited include John Margolies (Art in America, 1969), Gene Youngblood (Expanded Cinema, 1970) and Radical Software (1970).
The Role of Technology in the Art of Nam June Paik: Paik's Videotapes Tools
Nam June Paik, an early pioneer of video art, experimented with television from 1959 and purchased the first Sony portable video recorder available in the United States in October 1965 with a John D. Rockefeller III grant. Collaborating with Shuya Abe, he built the Paik/Abe video synthesizer at WGBH and the Experimental Television Center to enable real-time color and image manipulation; WGBH broadcast his four-hour Video Commune in 1970, and Paik published technical diagrams and assisted in creating consoles for WNET, the California Institute of the Arts and the Experimental Television Center.
The Role of Technology in the Art of Nam June Paik: The Social Implications of Television Bibliography
Nam June Paik made television the central medium of his art; early works include Participation TV (1965), exhibited at the New School for Social Research and Galeria Bonino and later at the Howard Wise Gallery, New York (1969), and Magnet TV (1965), developed at the New School to distort broadcast images with a large magnet. He developed a Video Synthesizer with Shuya Abe (1969–70) to manipulate video and immersed himself in electronics and engineering, citing Norbert Wiener and the electronic music studio. As a Fluxus artist he and Wolf Vostell staged destructive performances from 1959, and Vostell showed smashed television sets at the Smolin Gallery in 1963.