Nam June Paik
American video art pioneer (1932-2006)
- It is the historical necessity, if there is a historical necessity in history, that a new decade of electronic television should follow to the past decade of electronic music.
- Nam June Paik (1965), as cited in: David Dunn, "A History of Electronic Music Pioneers." ders.(Hrsg.), Eigenwelt der Apparate-Welt.(Katalog), Linz (1992): 21-62.
- As collage technique replaced oil paint, the cathode ray tube will replace the canvas. Someday artists will work with capacitors, resistors, and semiconductors as they work today with brushes, violins and junk. There are 4,000,000 dots per second on one television screen, just think of the variety of images you can get. It's so cool. It's like going to the moon.
- Manifesto, New York, October 1965, as cited in Jasia Reichardt (1971). The computer in art. p. 95
- Cybernated art is very important, but art for cybernated life is
- more important, and the latter need not be cybernated. . . .
- Cybernetics, the science of pure relations, or relationship
- itself, has its origin in karma. . .
- The Buddhists also say
- Karma is samsara
- Relationship is metempsychosis
- Nam June Paik, “Cybernated Art,” in Manifestos, Great Bear Pamphlets, (New York: Something Else Press, 1966), p. 24; Quoted in: Edward A. Shanken, "Cybernetics and Art: Cultural Convergence in the 1960s," in: From Energy to Information: Representation in Science, Technology, Art, and Literature, Stanford University Press, Bruce Clarke and Linda Dalrymple Henderson (eds.), 2002.
- Karma is samsara
- By using TV as a bra... the most intimate belonging of a human being, we will demonstrate the human use of technology, and also stimulate viewers... to look for the new, imaginative and humanistic ways of using our technology.
- Statement on TV Bra for a Living Scultpure (1969), cited in: C. A. Xuan Mai Ardia, "[http://artradarjournal.com/2014/10/24/nam-june-paik-becoming-robot-new-york/ Nam June Paik: “Becoming Robot” in New York – in pictures," at Art Radar journal, posted on 24/10/2014
- I want to shape the TV screen canvas
- as precisely as Leonardo,
- as freely as Picasso,
- as colorfully as Renoir,
- as profoundly as Mondrian,
- as violently as Pollock
- and as lyrically as Jasper Johns.
- Paik (1969) Versatile Color TV Synthesizer, Manifesto, cited in: Edith Decker-Phillips. Paik Video, Barrytown, Limited, 1998. p. 154
- Without electricity, there can be no art.
- Nam June Paik, (c. 1976) in "Nam June Paik retrospective, Liverpool" by Emma O'Kelly in Wallpaper, 20 December 2010 (at archive.org).
- Our life is half natural and half technological. Half-and-half is good. You cannot deny that high-tech is progress. We need it for jobs. Yet if you make only high-tech, you make war. So we must have a strong human element to keep modesty and natural life.
- In: Douglas C. McGill, ART PEOPLE, New York Times, October 3, 1986
- I make technology ridiculous.
- Leigh Landy, Antje von Graevenitz. " 'I MAKE TECHNOLOGY RIDICULOUS' — THE UNUSUAL DIALECTICS OF NAM JUNE PAIK," in: Leigh Landy (ed.) 1992. Technik, p. 79
- Art is just fraud. You just have to do something nobody else has done before.
- In interview with a Korean newspaper, quoted in: KoreAm Journal, Vol. 17 (2006), p. 79
Quotes about Nam June PaikEdit
- The Fluxus movement... developed its 'anti-art', anti-commercial aesthetics under the leadership of George Maciunas. Fluxus staged a series of festivals in Paris, Copenhagen, Amsterdam, London and New York, with avant-garde performances often spilling out into the street. Most of the experimental artists of the period, including Joseph Beuys, Yoko Ono and Nam June Paik, took part in Fluxus events. The movement, which still continues, played an important role in the opening up of definitions of what art can be.
- Anon. "Nam June Paik: Section 2: Fluxus, Performance, Participation", Tate Online, n.d.