Misplaced Pages

#45954

88-463: Nam June Paik ( Korean :  백남준 ; RR :  Baek Namjun ; July 20, 1932 – January 29, 2006) was a South Korean artist. He worked with a variety of media and is considered to be the founder of video art . He is credited with the first use (1974) of the term "electronic super highway" to describe the future of telecommunications. Born in Seoul to a wealthy business family, Paik trained as

176-500: A Sony TCV-2010, a combination unit that contained the first consumer-market video-tape recorder CV-2000 . Paik used this VTR to record television broadcasts, frequently manipulating the qualities of the broadcast, and the magnetic tape in process. In 1967 Sony introduced the first truly portable VTR, which featured a portable power supply and handheld camera, the Sony Portapak . With this, Paik could both move and record things, for it

264-668: A Sony Portapak , the first commercially available video recorder, perhaps by virtue of his close friendship with Nobuyuki Idei , who was an executive at (and later president of) the Sony corporation. From 1962, Paik was a member of the experimental art movement Fluxus . In 1964, Paik immigrated to the United States of America and began living in New York City, where he began working with classical cellist Charlotte Moorman , to combine his video, music, and performance . From 1979 to 1996 Paik

352-553: A classical pianist . By virtue of his affluent background, Paik received an elite education in modern (largely Western) music through his tutors. In 1950, during the Korean War , Paik and his family fled from their home in Korea , first fleeing to Hong Kong , but later moved to Japan . Paik graduated with a BA in aesthetics from the University of Tokyo in 1956, where he wrote a thesis on

440-609: A minority language in parts of China , namely Jilin , and specifically Yanbian Prefecture , and Changbai County . It is also spoken by Sakhalin Koreans in parts of Sakhalin , the Russian island just north of Japan, and by the Koryo-saram in parts of Central Asia . The language has a few extinct relatives which—along with the Jeju language (Jejuan) of Jeju Island and Korean itself—form

528-475: A spoken language . Since the turn of the 21st century, aspects of Korean culture have spread to other countries through globalization and cultural exports . As such, interest in Korean language acquisition (as a foreign language ) is also generated by longstanding alliances, military involvement, and diplomacy, such as between South Korea–United States and China–North Korea since the end of World War II and

616-484: A Korean influence on Khitan. The hypothesis that Korean could be related to Japanese has had some supporters due to some overlap in vocabulary and similar grammatical features that have been elaborated upon by such researchers as Samuel E. Martin and Roy Andrew Miller . Sergei Starostin (1991) found about 25% of potential cognates in the Japanese–Korean 100-word Swadesh list . Some linguists concerned with

704-515: A cello formed out of three television sets stacked up on top of each other and some cello strings. During Moorman's performance with the object, she drew her bow across the "cello," as images of her and other cellists playing appeared on the screens. Paik and Moorman created another TV Cello in 1976 as a Kaldor Public Art Project in Sydney, Australia. In 1974 Nam June Paik used the term "super highway" in application to telecommunications, which gave rise to

792-543: A classical musician, spending time in Japan and West Germany, where he joined the Fluxus collective and developed a friendship with experimental composer John Cage . He moved to New York City in 1964 and began working with cellist Charlotte Moorman to create performance art . Soon after, he began to incorporate televisions and video tape recorders into his work, acquiring growing fame. A stroke in 1996 left him partially paralyzed for

880-404: A complete collection of videotapes used in his work, as well as production notes, television work, sketches, notebooks, models and plans for videos. It also covers early-model televisions and video projectors, radios, record players, cameras and musical instruments, toys, games, folk sculptures and the desk where he painted in his SoHo studio. Curator John Hanhardt , an old friend of Paik, said of

968-470: A controversial painting of Emmett Till , entitled Open Casket by Dana Schutz , which sparked protest and a highly circulated petition calling for the painting to be removed and destroyed. The 2019 Whitney Biennial was boycotted by a group of artists, in protest of the museum's vice chairman, Warren Kanders . Warren Kanders' companies sell military supplies (teargas and bullets) via Safariland . These bullets were used by Israeli forces and snipers during

SECTION 10

#1733093042046

1056-477: A core vowel. The IPA symbol ⟨ ◌͈ ⟩ ( U+0348 ◌͈ COMBINING DOUBLE VERTICAL LINE BELOW ) is used to denote the tensed consonants /p͈/, /t͈/, /k͈/, /t͡ɕ͈/, /s͈/ . Its official use in the extensions to the IPA is for "strong" articulation, but is used in the literature for faucalized voice . The Korean consonants also have elements of stiff voice , but it is not yet known how typical this

1144-521: A millennium satellite broadcast entitled Tiger is Alive and in 2004 designed the installation of monitors and video projections Global Groove 2004 for the Deutsche Guggenheim in Berlin. Global Groove was turned into an NFT -based artwork and put up online at Christie's , the global art auction house It sold for $ 56,250. Paik's first exhibition, entitled "Exposition of Music – Electronic Television",

1232-653: A poem by Rudyard Kipling, "East is East, and West is West, and never the twain shall meet," as it fostered collaborations such as between the American artist Keith Haring and the Japan-based fashion designer Issey Miyake . As curator Lee Sooyon has argued, Bye Bye Kipling also contributed to the Korea government's agendas of "the advancement and internationalization of culture" by bringing together video sketches of shaman rituals and Korean drum dancers with Seoul's "economic miracle" and

1320-513: A possible relationship.) Hudson & Robbeets (2020) suggested that there are traces of a pre- Nivkh substratum in Korean. According to the hypothesis, ancestral varieties of Nivkh (also known as Amuric ) were once distributed on the Korean Peninsula before the arrival of Koreanic speakers. Korean syllable structure is (C)(G)V(C), consisting of an optional onset consonant, glide /j, w, ɰ/ and final coda /p, t, k, m, n, ŋ, l/ surrounding

1408-786: A unique conservation challenge. In 2006, Nam June Paik's estate asked a group of museums for proposals on how each would use the archive. Out of a group that included the Museum of Modern Art , the J. Paul Getty Museum , the Solomon R. Guggenheim Museum and the Whitney Museum of American Art , it chose the Smithsonian American Art Museum . The archive includes Paik's early writings on art history, history and technology; correspondence with other artists and collaborators like Charlotte Moorman, John Cage, George Maciunas and Wolf Vostell ; and

1496-403: A wheelchair the last decade of his life, though he was able to walk with assistance. Korean language Korean ( South Korean : 한국어 , Hanguk-eo ; North Korean : 조선어 , Chosŏnŏ ) is the native language for about 81 million people, mostly of Korean descent. It is the national language of both North Korea and South Korea . Beyond Korea, the language is recognized as

1584-463: A world made bad for blacks, Latinos, gays, lesbians and women in general. " The largely shared sentiment was that the public felt alienated by the confrontational demands of the artwork. It was the first Whitney Biennial to treat video works with the same attention to space as sculpture, designating two entire galleries to them. Text-heavy Installations demanded attention and participation from the audience. The artists made it extremely difficult to take in

1672-656: Is an agglutinative language . The Korean language is traditionally considered to have nine parts of speech . Modifiers generally precede the modified words, and in the case of verb modifiers, can be serially appended. The sentence structure or basic form of a Korean sentence is subject–object–verb (SOV), but the verb is the only required and immovable element and word order is highly flexible, as in many other agglutinative languages. Question 가게에 gage-e store- LOC 가셨어요? ga-syeo-sseo-yo go- HON . PAST - CONJ - POL 가게에 가셨어요? gage-e ga-syeo-sseo-yo store-LOC go-HON.PAST-CONJ-POL 'Did [you] go to

1760-511: Is closer to a near-open central vowel ( [ɐ] ), though ⟨a⟩ is still used for tradition. Grammatical morphemes may change shape depending on the preceding sounds. Examples include -eun/-neun ( -은/-는 ) and -i/-ga ( -이/-가 ). Sometimes sounds may be inserted instead. Examples include -eul/-reul ( -을/-를 ), -euro/-ro ( -으로/-로 ), -eseo/-seo ( -에서/-서 ), -ideunji/-deunji ( -이든지/-든지 ) and -iya/-ya ( -이야/-야 ). Some verbs may also change shape morphophonemically. Korean

1848-427: Is held in museum collections around the world. Possibly Paik's most famous work, TV Buddha is a video installation depicting a Buddha statue viewing its own live image on a closed circuit TV. Paik created numerous versions of this work using different statues, the first version is from 1974. Another piece, Positive Egg , displays a white egg on a black background. In a series of video monitors, increasing in size,

SECTION 20

#1733093042046

1936-646: Is leaving the Upper East Side for the meatpacking district, where it is scheduled to open its new building, designed by Renzo Piano , in 2015. In 1987, the show was protested by the Guerrilla Girls for its alleged sexism and racism . Still referred to as the "political" biennial, the 1993 edition included works like Pepón Osorio 's installation Scene of the Crime (Whose Crime?) of a Hispanic family's living room and Daniel Joseph Martinez 's metal buttons bearing

2024-399: Is mainly reserved for specific circumstances such as newspapers, scholarly papers and disambiguation. Today Hanja is largely unused in everyday life but is still important for historical and linguistic studies. The Korean names for the language are based on the names for Korea used in both South Korea and North Korea. The English word "Korean" is derived from Goryeo , which is thought to be

2112-399: Is of faucalized consonants. They are produced with a partially constricted glottis and additional subglottal pressure in addition to tense vocal tract walls, laryngeal lowering, or other expansion of the larynx. /s/ is aspirated [sʰ] and becomes an alveolo-palatal [ɕʰ] before [j] or [i] for most speakers (but see North–South differences in the Korean language ). This occurs with

2200-716: Is well attested in Western Old Japanese and Northern Ryukyuan languages , in Eastern Old Japanese it only occurs in compounds, and it is only present in three dialects of the Southern Ryukyuan language group . Also, the doublet wo meaning "hemp" is attested in Western Old Japanese and Southern Ryukyuan languages. It is thus plausible to assume a borrowed term. (See Classification of the Japonic languages or Comparison of Japanese and Korean for further details on

2288-556: Is written in the Korean script ( 한글 ; Hangeul in South Korea, 조선글 ; Chosŏn'gŭl in North Korea), a system developed during the 15th century for that purpose, although it did not become the primary script until the 20th century. The script uses 24 basic letters ( jamo ) and 27 complex letters formed from the basic ones. When first recorded in historical texts, Korean was only

2376-839: The 2018–2019 Gaza border protests . The United Nations released a report stating Israeli security forces may have committed war crimes and should be held individually and collectively accountable for the deaths of 189 Palestinian protesters in Gaza. As such, the 2019 Whitney Biennial was labelled "The Tear Gas Biennial" by Hannah Black , Ciarán Finlayson , and Tobi Haslett in an open letter on Artforum . The artists who withdrew from include: Korakrit Arunanondchai , Meriem Bennani , Nicole Eisenman , Nicholas Galanin , Eddie Arroyo , Christine Sun Kim , Agustina Woodgate , and Forensic Architecture . The Forensic Architecture biennial submission, “Triple-Chaser” (2019), collected evidence, ammunition rounds, and eyewitness testimony that links Warren Kanders to

2464-623: The Korean War . Along with other languages such as Chinese and Arabic , Korean is ranked at the top difficulty level for English speakers by the United States Department of Defense . Modern Korean descends from Middle Korean , which in turn descends from Old Korean , which descends from the Proto-Koreanic language , which is generally suggested to have its linguistic homeland somewhere in Manchuria . Whitman (2012) suggests that

2552-524: The Korean dialects , which are still largely mutually intelligible . The Chinese language , written with Chinese characters and read with Sino-Xenic pronunciations , was first introduced to Korea in the 1st century BC, and remained the medium of formal writing and government until the late 19th century. Korean scholars adapted Chinese characters (known in Korean as Hanja ) to write their own language, creating scripts known as idu , hyangchal , gugyeol , and gakpil. These systems were cumbersome, due to

2640-613: The Kunsthalle Basel (1991). Nam June Paik's first major retrospective in Korea, Video Time – Video Space , opened at the Gwacheon location of the National Museum of Modern and Contemporary Art, Korea on July 30, 1992. Although the exhibition lasted merely 34 days, it saw 117,961 paid visitors; the unofficial visitor count reached nearly 200,000. The exhibition involved the participation of major entities of media and business—including

2728-1260: The National Gallery of Art in Washington, D.C. Another retrospective was mounted at the Smithsonian American Art Museum in Washington, D.C., in 2012–2013. As a leading expert in Paik's work, art historian John G. Hanhardt was the curator for three landmark exhibitions devoted to the artist, the ones at the Whitney Museum, the Guggenheim Museum, and the Smithsonian American Art Museum. Paik's work also appeared in important group exhibitions such as São Paulo Biennale (1975), Whitney Biennial (1977, 1981, 1983, 1987, and 1989), Documenta 6 and 8 (1977 and 1987), and Venice Biennale (1984 and 1993). From April 24, 2015, to September 7, 2015, Paik's works T.V. Clock , 9/23/69: Experiment with David Atwood, and ETUDE1 were displayed at "Watch This! Revelations in Media Art" at

Nam June Paik - Misplaced Pages Continue

2816-557: The Three Kingdoms of Korea (not the ancient confederacies in the southern Korean Peninsula), while " -eo " and " -mal " mean "language" and "speech", respectively. Korean is also simply referred to as guk-eo , literally "national language". This name is based on the same Han characters ( 國語 "nation" + "language") that are also used in Taiwan and Japan to refer to their respective national languages. In North Korea and China ,

2904-949: The 16th century for all Korean classes, including uneducated peasants and slaves. By the 17th century, the yangban had exchanged Hangul letters with slaves, which suggests a high literacy rate of Hangul during the Joseon era. In the context of growing Korean nationalism in the 19th century, the Gabo Reform of 1894 abolished the Confucian examinations and decreed that government documents would be issued in Hangul instead of literary Chinese. Some newspapers were published entirely in Hangul, but other publications used Korean mixed script , with Hanja for Sino-Korean vocabulary and Hangul for other elements. North Korea abolished Hanja in writing in 1949, but continues to teach them in schools. Their usage in South Korea

2992-490: The 2014 Biennial as a protest of the Whitney Museum's policies. Yams Collective member and artist Sienna Shields said "Every Whitney Biennial I have ever been to, you can barely count the number of black artists in the show on one hand. I didn't want to be a part of that," Shields said. "There are so many amazing artists of color that I have known in the past 12 years in New York that are essentially overlooked. But I just felt it

3080-499: The Biennial" effectively cast the artists largely as victims in the eyes of the public. Roberta Smith, an art critic for The New York Times , called it "pious, [and] often arid". The art historian Robert Hughes vehemently criticized lack of painting, and the "wretched pictorial ineptitude" of the artists, dismissed the abundance of text as "useless, boring mock documentation", and mocked the focus on "exclusion and marginalization ... [in]

3168-481: The Everson Museum of Art, Syracuse, New York, in 1974. As a pioneer of video art his influence was from a student he met at CalArts named Sharon Grace he described her as "pure genius" from the moment they met. The two met while she was filming fellow students at random with her Sony Portapak as an artistic sociological practice akin to the artist in the studio. This led to TV Buddha and people's model of

3256-579: The Galerie Parnass in Wuppertal in which he scattered televisions everywhere and used magnets to alter or distort their images. In a 1960 piano performance in Cologne , he played Chopin , threw himself on the piano and rushed into the audience, attacking Cage and pianist David Tudor by cutting their clothes with scissors and dumping shampoo on their heads. Cage suggested Paik look into Zen Buddhism. Though Paik

3344-692: The Korea Broadcasting Corporation and Samsung Electronics. The exhibition presented approximately 150 artworks, beginning with The More, The Better as the exhibition's starting point. According to Lee Sooyon, Paik carefully tailored the exhibition's works to his audiences. Knowing that Korea's audience was not familiar with international art world conversations of video art, Fluxus, and performance art, Paik selected artworks that appealed to popular subjects of Korean culture and history. The exhibition also featured works from Paik's TV Buddha and My Faust series. A final retrospective of his work

3432-589: The Silk Road and Eurasia. Moreover, as Paik became involved in Korea's art scene, he spearheaded projects that drew upon his connections with business and government circles in South Korea. Bye Bye Kipling , a tape that mixed live events from Seoul, South Korea; Tokyo, Japan; and New York, USA, demonstrates this new phase in Paik's practice. Broadcast on the occasion of the Asia Games in Seoul, Bye Bye Kipling 's title referenced

3520-425: The Smithsonian American Art Museum, supervised the complex installation of several hundred CRT TV sets, the wiring to connect them all, and the software and servers to drive them. He developed an app on his phone to operate every electronic artwork on display. Many of Paik's early works and writings are collected in a volume edited by Judson Rosebush titled Nam June Paik: Videa 'n' Videology 1959–1973, published by

3608-601: The Smithsonian American Art Museum. Although Paik's pioneering experimentalism and foresight of the important role media would continue to play in society has been examined across many exhibitions, for a 2019 exhibition, the Tate Modern turned its focus upon Paik as a collaborator. This exhibition later travelled to the San Francisco Museum of Modern Art , where it was presented at the first West-coast retrospective of Paik's work from May 8, 2021, through October 3, 2021. It

Nam June Paik - Misplaced Pages Continue

3696-795: The U.S. to Korea, in ways that bridged similar activities in Korea's art scene. Paik was also involved in bringing the 1993 Whitney Biennial to Seoul, as well as in founding the Gwangju Biennale and establishing the Korea Pavilion at the Venice Biennale . Beginning with his artistic career in Germany in the 1960s—and on through his immigration to the U.S., later involvement in South Korea's art scene, and broader participation in international artistic currents—Paik's transnational path informed both his identity and his artistic practice in complex ways. At

3784-456: The U.S.; one example is Guadalcanal Requiem (1977), which invokes "the history and memories of World War II in the Pacific." Hanhardt has also concluded that—though "no single story" of Nam June Paik can capture the complexity of who he was and the places that shaped him—as Paik grew in public, transcultural, and global recognition, he held onto the significance of his birthplace in Korea. Similarly,

3872-568: The United States Information Center in Seoul. The artist Park Hyunki was among the audience (which featured Paik's Global Groove); the screening notably inspired Park Hyunki to first experiment with video. Christie's holds the auction record for Paik's work since it achieved $ 646,896 in Hong Kong in 2007 for his Wright Brothers , a 1995 propeller-plane-like tableau comprising 14 TV monitors. In 2015, Gagosian Gallery acquired

3960-731: The World, which was made for the Seoul Olympics . The same year, he unveiled Metrobot , his largest statue and his first outdoor installation, at the Contemporary Arts Center in Cincinnati . For the German pavilion at the 1993 Venice Biennale, Paik created an array of robot sculptures of historic figures, such as Catherine the Great and the legendary founder of Korea, Dangun , so as to emphasize

4048-420: The archive: "It came in great disorder, which made it all the more complicated. It is not like his space was perfectly organized. I think the archive is like a huge memory machine. A wunderkammer, a wonder cabinet of his life." Hanhardt describes the archives in the catalog for the 2012 Smithsonian show in the book Nam June Paik: Global Visionary . Michael Mansfield, associate curator of film and media arts at

4136-455: The beginnings of words. /l/ becomes alveolar flap [ɾ] between vowels, and [l] or [ɭ] at the end of a syllable or next to another /l/ . A written syllable-final ' ㄹ ', when followed by a vowel or a glide ( i.e. , when the next character starts with ' ㅇ '), migrates to the next syllable and thus becomes [ɾ] . Traditionally, /l/ was disallowed at the beginning of a word. It disappeared before [j] , and otherwise became /n/ . However,

4224-439: The broader international art world. He opened solo exhibitions in Korea and mounted two world-wide broadcast projects for the 1986 Asia Games and the 1988 Olympics, both hosted in Seoul , and organized a number of exhibitions in Korea. Some exhibitions coordinated by Paik introduced John Cage, Merce Cunningham , and Joseph Beuys to Korea's art scene; others brought recent developments in video art and interactivity from Europe and

4312-465: The bustling business of Namdaemun Market . In 1988, Paik installed The More, The Better in the atrium of the National Museum of Modern and Contemporary Art, Gwacheon. A giant tower, the work is made of 1003 monitors—a number that references October 3 as the day of Korea was founded by Dangun , according to legend. The More, The Better appears prominently in Paik's 1988 broadcast Wrap Around

4400-414: The compact Koreanic language family . Even so, Jejuan and Korean are not mutually intelligible . The linguistic homeland of Korean is suggested to be somewhere in contemporary Manchuria . The hierarchy of the society from which the language originates deeply influences the language, leading to a system of speech levels and honorifics indicative of the formality of any given situation. Modern Korean

4488-500: The composer Arnold Schoenberg . Paik then moved to West Germany in 1957 to study music history with composer Thrasybulos Georgiades at Munich University . While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Sharon Grace , George Maciunas , Joseph Beuys , and Wolf Vostell . In 1961, Paik returned to Tokyo to explore the country's advanced technologies. While living in Japan between 1962 and 1963, Paik first acquired

SECTION 50

#1733093042046

4576-482: The connections between Europe and Asia. Paik's 1995 piece Electronic Superhighway: Continental U.S., Alaska, Hawaii , is on permanent display at the Lincoln Gallery of the Smithsonian American Art Museum . Paik was known for making robots out of television sets. These were constructed using pieces of wire and metal, but later Paik used parts from radio and television sets. Despite his stroke, in 2000, he created

4664-588: The curator Lee Sook-kyung has called identifying what is Korea, Japanese, American, or German about Nam June Paik to be a "futile" effort, yet she has observed that Paik consistently emphasized his Korean heritage and "Mongolian" lineages. Nam June Paik then began participating in the Neo-Dada art movement, known as Fluxus , which was inspired by the composer John Cage and his use of everyday sounds and noises in his music. He made his big debut in 1963 at an exhibition known as Exposition of Music-Electronic Television at

4752-447: The expenditure would be about the same as for a Moon landing , except that the benefits in term of by-products would be greater. Also in the 1970s, Paik imagined a global community of viewers for what he called a Video Common Market which would disseminate videos freely. In 1978, Paik collaborated with Dimitri Devyatkin to produce a light hearted comparison of life in two major cities, Media Shuttle: New York-Moscow on WNET . The video

4840-399: The first Korean dynasty known to Western nations. Korean people in the former USSR refer to themselves as Koryo-saram or Koryo-in (literally, " Koryo/Goryeo persons"), and call the language Koryo-mal' . Some older English sources also use the spelling "Corea" to refer to the nation, and its inflected form for the language, culture and people, "Korea" becoming more popular in

4928-404: The fundamental disparities between the Korean and Chinese languages, and accessible only to those educated in classical Chinese. Most of the population was illiterate. In the 15th century King Sejong the Great personally developed an alphabetic featural writing system , known today as Hangul , to promote literacy among the common people. Introduced in the document Hunminjeongeum , it

5016-513: The image on the screen becomes larger and larger, until the egg itself becomes an abstract, unrecognizable shape. In Video Fish , from 1975, a series of aquariums arranged in a horizontal line contain live fish swimming in front of an equal number of monitors which show video images of other fish. Paik completed an installation in 1993 in the NJN Building in Trenton, NJ. This work was commissioned under

5104-479: The inflow of western loanwords changed the trend, and now word-initial /l/ (mostly from English loanwords) are pronounced as a free variation of either [ɾ] or [l] . All obstruents (plosives, affricates, fricatives) at the end of a word are pronounced with no audible release , [p̚, t̚, k̚] . Plosive sounds /p, t, k/ become nasals [m, n, ŋ] before nasal sounds. Hangul spelling does not reflect these assimilatory pronunciation rules, but rather maintains

5192-450: The internet as we know it today with such art pieces as "Send / Receive". The artwork and ideas of Nam June Paik were a major influence on late 20th-century art and continue to inspire a new generation of artists. Contemporary artists considered to be influenced by Paik include Christian Marclay , Jon Kessler , Cory Arcangel , Ryan Trecartin and Haroon Mirza . Nam June Paik's work was first screened in South Korea on March 20, 1974, at

5280-408: The issue between Japanese and Korean, including Alexander Vovin, have argued that the indicated similarities are not due to any genetic relationship , but rather to a sprachbund effect and heavy borrowing, especially from Ancient Korean into Western Old Japanese . A good example might be Middle Korean sàm and Japanese asá , meaning " hemp ". This word seems to be a cognate, but although it

5368-618: The language is most often called Joseon-mal , or more formally, Joseon-o . This is taken from the North Korean name for Korea (Joseon), a name retained from the Joseon dynasty until the proclamation of the Korean Empire , which in turn was annexed by the Empire of Japan . In mainland China , following the establishment of diplomatic relations with South Korea in 1992, the term Cháoxiǎnyǔ or

SECTION 60

#1733093042046

5456-498: The last decade of his life. Born in Seoul in 1932 in present-day South Korea, the youngest of five children, Paik had two older brothers and two older sisters. His father  [ ko ] , who in 2002 was revealed to be a Korean who collaborated with the Japanese during the latter's occupation of Korea, owned a major textile manufacturing firm. As he was growing up, he was trained as

5544-451: The late 1800s. In South Korea the Korean language is referred to by many names including hanguk-eo ("Korean language"), hanguk-mal ("Korean speech") and uri-mal ("our language"); " hanguk " is taken from the name of the Korean Empire ( 대한제국 ; 大韓帝國 ; Daehan Jeguk ). The " han " ( 韓 ) in Hanguk and Daehan Jeguk is derived from Samhan , in reference to

5632-403: The message "I can't imagine ever wanting to be white." The 1993 Whitney Biennial was the most diverse exhibit by a major American museum up until that time. In 1970 less than 1% of artists at the Whitney Museum were non-white. In 1991, only 10% of artists were non white. Vanessa Faye Johnson stated that despite intentions, the "lack of exchange and dialogue, the simplification of complex issues in

5720-788: The opinion that he may have been the author of the phrase " Information Superhighway ". In fact, in his 1974 proposal "Media Planning for the Postindustrial Society – The 21st Century is now only 26 years away" to the Rockefeller Foundation he used a slightly different phrase, "electronic super highway": "The building of new electronic super highways will become an even huger enterprise. Assuming we connect New York with Los Angeles by means of an electronic telecommunication network that operates in strong transmission ranges, as well as with continental satellites, wave guides, bundled coaxial cable, and later also via laser beam fiber optics:

5808-500: The outset of his career in Europe, Paik declared, "The yellow peril ! C'est moi," in a 1964 pamphlet, a reference to his Asian identity that, as the curators June Yap and Lee Soo-yon have noted, appropriates a xenophobic phrase coined by Kaiser Wilhelm II as Paik referenced his Asian identity. Curator John Hanhardt observed that certain works recall Paik's lived experience of transnational immigration from South Korea to Japan, Germany, and on

5896-406: The participation of John Cage , Salvador Dalí , Laurie Anderson , Joseph Beuys , Merce Cunningham , Allen Ginsberg and Peter Orlovsky , George Plimpton , and other artists, Paik showed that George Orwell 's Big Brother had not arrived. As the curator Suh Jinsuk has observed, after returning to Korea in 1984, Nam June Paik increasingly explored symbols of global exchange with Asia, such as

5984-464: The piece: "The insertion of people of color into white space doesn't make it less colonial or more radical—that's the rhetoric of imperialistic multiculturalism, a bullshit passé theory." and suggest this pieces treats "othered bodies [as] subcontractable. " Additionally, The YAMS Collective, or HOWDOYOUSAYYAMINAFRICAN?, a collective of 38 mostly black and queer artists, writers, composers, academics, filmmakers and performers participated and withdrew from

6072-631: The proto-Koreans, already present in northern Korea, expanded into the southern part of the Korean Peninsula at around 300 BC and coexisted with the descendants of the Japonic Mumun cultivators (or assimilated them). Both had influence on each other and a later founder effect diminished the internal variety of both language families. Since the establishment of two independent governments, North–South differences have developed in standard Korean, including variations in pronunciation and vocabulary chosen. However, these minor differences can be found in any of

6160-447: The public building arts inclusion act of 1978. The installation's media is neon lights incorporated around video screens. This particular piece is currently non-operational, though there are plans to make necessary upgrades/repairs to restore it to working order. During the New Year's Day celebration on January 1, 1984, he aired Good Morning, Mr. Orwell , a live link between WNET New York, Centre Pompidou Paris, and South Korea. With

6248-434: The right to represent Paik's artistic estate. Paik moved to New York City in 1964. In 1977, he married the video artist Shigeko Kubota . After marrying Kubota and living in the United States for several decades, Paik became a naturalized American citizen. Paik was a lifelong Buddhist who never smoked nor drank alcoholic beverages, and never drove a car. In 1996, Paik had a stroke, which paralyzed his left side. He used

6336-660: The short form Cháoyǔ has normally been used to refer to the standard language of North Korea and Yanbian , whereas Hánguóyǔ or the short form Hányǔ is used to refer to the standard language of South Korea. Korean is a member of the Koreanic family along with the Jeju language . Some linguists have included it in the Altaic family, but the core Altaic proposal itself has lost most of its prior support. The Khitan language has several vocabulary items similar to Korean that are not found in other Mongolian or Tungusic languages, suggesting

6424-518: The show. In 2010 it even asked a former art dealer, Jay Sanders, who would later become a Whitney curator, to help organize one. The Whitney Biennial often extends to sculpture exhibitions in Central Park. The 2008 edition took over the Park Avenue Armory as a space for performance and installation art. The 2014 Whitney Biennial is the last one in the museum's Marcel Breuer building. The museum

6512-402: The store?' Response 예/네. ye/ne AFF Whitney Biennial In 2010, for the first time a majority of the 55 artists included in that survey of contemporary American art were women. The 2012 exhibition featured 51 artists, the smallest number in the event's history. The fifty-one artists for 2012 were selected by curator Elisabeth Sussman and freelance curator Jay Sanders. It

6600-441: The tense fricative and all the affricates as well. At the end of a syllable, /s/ changes to /t/ (example: beoseot ( 버섯 ) 'mushroom'). /h/ may become a bilabial [ɸ] before [o] or [u] , a palatal [ç] before [j] or [i] , a velar [x] before [ɯ] , a voiced [ɦ] between voiced sounds, and a [h] elsewhere. /p, t, t͡ɕ, k/ become voiced [b, d, d͡ʑ, ɡ] between voiced sounds. /m, n/ frequently denasalize at

6688-464: The underlying, partly historical morphology . Given this, it is sometimes hard to tell which actual phonemes are present in a certain word. The traditional prohibition of word-initial /ɾ/ became a morphological rule called "initial law" ( 두음법칙 ) in the pronunciation standards of South Korea, which pertains to Sino-Korean vocabulary. Such words retain their word-initial /ɾ/ in the pronunciation standards of North Korea. For example, ^NOTE ㅏ

6776-570: The work as a passive viewer. Since 2000, the Bucksbaum Award has been awarded to an artist exhibiting at the Biennial. The 2014 Whitney Biennial was also somewhat controversial for its lack of diversity, 9 out of the 109 artists were black or African American, including Donelle Woolford, a fictional character developed by 52-year-old white artist Joe Scanlan. She was the only black female artist included in curator Michelle Grabner 's exhibition. Eunsong Kim and Maya Isabella Mackrandilal criticized

6864-520: Was Paik's goal to bring music up to speed with art and literature, and make sex an acceptable theme. One of his Fluxus concept works ("Playable Pieces") instructs the performer to "Creep into the Vagina of a living Whale." Of the "Playable Pieces," the only one actually to have been performed was by Fluxus composer Joseph Byrd ("Cut your left forearm a distance of ten centimeters.") in 1964 at UCLA's New Music Workshop. In 1971, Paik and Moorman made TV Cello ,

6952-533: Was already well familiar with Buddhism from his childhood in Korea and Japan, Cage's interest in Zen philosophy compelled Paik to re-examine his own intellectual and cultural foundation. During 1963 and 1964 the engineers Hideo Uchida and Shuya Abe showed Paik how to interfere with the flow of electrons in color TV sets, work that led to the Abe-Paik video synthesizer, a key element in his future TV work. In 1965, Paik acquired

7040-533: Was called eonmun ('colloquial script') and quickly spread nationwide to increase literacy in Korea. The Korean alphabet was denounced by the yangban aristocracy, who looked down upon it too easy to learn. However, it gained widespread use among the common class and was widely used to print popular novels which were enjoyed by the common class. Since few people could understand official documents written in classical Chinese, Korean kings sometimes released public notices entirely written in Hangul as early as

7128-445: Was decided to alternate between painting and sculpture, although by the 1970s the decision was to combine both together in a biennial. The first Biennial occurred in 1973. Since then, the biennials have pursued a different curatorial approach to include all media. In the past the Whitney Museum has tried different ways to organize its biennial. It has used its own staff members and invited outside curators, including Europeans, to present

7216-471: Was held in 1963 at Galerie Parnass in Wuppertal , Germany. A retrospective of Paik's work was held at the Whitney Museum in New York City in the spring of 1982. Major retrospectives of Paik's work have been organized by Kölnischer Kunstverein (1976), Musée d'art moderne de la Ville de Paris (1978), Whitney Museum of American Art in New York City (1982), San Francisco Museum of Modern Art (1989), and

7304-587: Was held in 2000 at the Guggenheim Museum in New York City, with the commissioned site-specific installation Modulation in Sync (2000) integrating the unique space of the museum into the exhibition itself. This coincided with a downtown gallery showing of video artworks by his wife Shigeko Kubota , mainly dealing with his recovery from a stroke he had in 1996. In 2011, an exhibition centered on Paik's video sculpture One Candle, Candle Projection (1988–2000) opened at

7392-763: Was later presented at the National Gallery Singapore from 10 December 2021 to 27 March 2022, a first time that such an expansive and ambitious presentation of Paik's oeuvre was presented in Southeast Asia In late 2022, the National Museum of Modern and Contemporary Art, Korea , will present an exhibition that focuses on Paik as cultural organizer who made an immense impact upon South Korea's art scene; it aims to bring into greater focus Paik's relationship with national identity. Public collections that hold or have exhibited work by Nam June Paik include: Given its largely antiquated technology, Paik's oeuvre poses

7480-399: Was open for three months up to 27 May 2012 and presented for the first time "heavy weight" on dance, music and theatre. Those performance art variations were open to spectators all day long in a separate floor. The Whitney Museum had a long history beginning in 1932 of having a large group exhibition of invited American artists every year called the 'Whitney Annual'. In the late sixties, it

7568-475: Was professor at the Kunstakademie Düsseldorf . After nearly 35 years of being exiled from his motherland of Korea, Paik returned to South Korea on June 22, 1984. From the mid-1980s to the mid-1990s, Paik played an integral role in Korea's art scene. As the curator Lee Sooyon has argued, Paik became more than just an illustrious visitor to Korea, he became the leader who helped open Korea's art scene to

7656-432: Was the first portable video and audio recorder. From there, Paik became an international celebrity, known for his creative and entertaining works. In a notorious 1967 incident, Moorman was arrested for going topless while performing in Paik's Opera Sextronique . Two years later, in 1969, they performed TV Bra for Living Sculpture , in which Moorman wore a bra with small TV screens over her breasts. Throughout this period it

7744-486: Was time for an intervention." Poet Christa Bell explained: "[O]ur entire participation was a protest... Just because people don't know that doesn't mean it is any less of a protest. Withdrawal was the final act of protest. Black people en masse being inside of an institution like the Whitney, presenting art, is itself a form of protest. We just followed it through to its inevitable conclusion." The 2017 Whitney Biennial featured

#45954