Editing Nam June Paik (section)

==Works==
[[Image:Frankfurt Medien Denkmal.jpg|thumb|''Pre-Bell-Man'', statue in front of the [[Museum für Kommunikation Frankfurt]] in Germany]]
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''<ref>{{Cite web|url=http://www.medienkunstnetz.de/works/exposition-of-music/|title=Media Art Net {{!}} Paik, Nam June: Exposition of Music – Electronic Television|publisher=Media Art Net|date=March 22, 2017|access-date=March 22, 2017|archive-date=April 15, 2017|archive-url=https://web.archive.org/web/20170415161903/http://www.medienkunstnetz.de/works/exposition-of-music/|url-status=live}}</ref> at 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.<ref>{{cite web|author=Suzanne Muchnic|date=January 31, 2006|url=https://www.latimes.com/archives/la-xpm-2006-jan-31-me-paik31-story.html|title=Nam June Paik, 74; Free-Spirited Video Artist Broke Radical New Ground|archive-url=https://web.archive.org/web/20141220050854/http://articles.latimes.com/2006/jan/31/local/me-paik31|archive-date=December 20, 2014|url-status=live|work=[[Los Angeles Times]]}}</ref><ref>{{cite book|author=[[Wulf Herzogenrath]]|title=Videokunst der 60er Jahre in Deutschland|publisher=[[Kunsthalle Bremen]]|year=2006}}</ref>

Cage suggested Paik look into Zen Buddhism. Though Paik 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.<ref name="Nam June Paik-2019" />{{Rp|page=13}}

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.<ref>{{Cite web|url=https://museumzero.blogspot.com/2013/12/its-all-baseball-nam-june-paik-starts.html|title=It's All Baseball: Nam June Paik Starts Out|access-date=June 28, 2020|archive-date=June 29, 2020|archive-url=https://web.archive.org/web/20200629222646/https://museumzero.blogspot.com/2013/12/its-all-baseball-nam-june-paik-starts.html|url-status=live}}</ref>{{Unreliable source?|reason=See unreliable sources list on [[WP:KO/RS]]|date=November 2024}}

In 1965, Paik acquired 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 was the first portable video and audio recorder.<ref>{{Cite web|url=https://www.guggenheim.org/blogs/the-take/the-year-video-art-was-born|title=The Year Video Art Was Born|date=July 15, 2010|publisher=Guggenheim|access-date=March 22, 2017|archive-date=March 22, 2017|archive-url=https://web.archive.org/web/20170322204401/https://www.guggenheim.org/blogs/the-take/the-year-video-art-was-born|url-status=live}}</ref><ref>{{Cite web|url=https://museumzero.blogspot.com/2013/12/nam-june-paik-starts-making-video.html|title=Nam June Paik Starts Making Video|access-date=June 28, 2020|archive-date=June 30, 2020|archive-url=https://web.archive.org/web/20200630194841/https://museumzero.blogspot.com/2013/12/nam-june-paik-starts-making-video.html|url-status=live}}</ref>{{Unreliable source?|reason=See unreliable sources list on [[WP:KO/RS]]|date=November 2024}} From there, Paik became an international celebrity, known for his creative and entertaining works.<ref>{{cite book|author=[[Christiane Paul (curator)|Christiane Paul]]|title=Digital Art|publisher=[[Thames & Hudson]]|location=London|page=21}}</ref>

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.<ref>{{cite news|last1=Paik|first1=Nam June|last2=Moorman|first2=Charlotte|title=TV-Bra for Living Sculpture (1969)|url=http://www.medienkunstnetz.de/works/tv-bra/|location=[[Cologne]]|publisher=Media Art Net (medienkunstnetz.de)|year=1970|access-date=October 21, 2006|archive-date=October 12, 2006|archive-url=https://web.archive.org/web/20061012170056/http://www.medienkunstnetz.de/works/tv-bra/|url-status=live}}</ref> Throughout this period it 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."<ref>{{Cite book |last=Cope |first=David |title=New Directions in Music |publisher=Wm. Brown |year=1984 |isbn= |edition=4th |location=Dubuque, Iowa |pages=306 |language=EN}}</ref> 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.<ref>{{cite book|last=Nyman|first=Michael|title=Experimental Music|year=1999|publisher=[[Cambridge University Press]]|isbn=978-0-521-65383-1}}</ref>

In 1971, Paik and Moorman made ''TV Cello'', a cello formed out of three television sets stacked up on top of each other and some cello strings.<ref>{{Cite web|url=http://walkerart.org/magazine/nam-june-paik-golden-age-television|title=Nam June Paik: Television Has Attacked Us for a Lifetime|website=walkerart.org|access-date=June 28, 2020|archive-date=October 1, 2020|archive-url=https://web.archive.org/web/20201001181548/https://walkerart.org/magazine/nam-june-paik-golden-age-television|url-status=live}}</ref>  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.<ref>{{Cite web|url=https://www.artgallery.nsw.gov.au/collection/works/343.2011.a-c/#video|title=TV Cello 1976|website=artgallery.nsw.gov.au|access-date=July 29, 2021}}</ref>

In 1974 Nam June Paik used the term "super highway" in application to telecommunications, which gave rise to the opinion that he may have been the author of the phrase "[[Information Superhighway]]".<ref>{{cite web|url=http://netart.incubadora.fapesp.br/portal/midias/paik.htm|title=Netart|archive-url=https://web.archive.org/web/20090312092802/http://netart.incubadora.fapesp.br/portal/midias/paik.htm|archive-date=March 12, 2009}}</ref> 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":<ref>{{citation|last=Paik|first=Nam June|title=Media Planning for the Postindustrial Society – The 21st Century is now only 26 years away|url=http://www.medienkunstnetz.de/source-text/33/|publisher=Media Art Net (medienkunstnetz.de)|year=1974|access-date=December 18, 2012|archive-date=September 3, 2019|archive-url=https://web.archive.org/web/20190903012019/http://www.medienkunstnetz.de/source-text/33/|url-status=live}}</ref>

<blockquote>
"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: the expenditure would be about the same as for a [[Moon landing]], except that the benefits in term of by-products would be greater.</blockquote>

Also in the 1970s, Paik imagined a global community of viewers for what he called a Video Common Market which would disseminate videos freely.<ref>{{cite web|author=Laura Cumming|date=December 19, 2010|url=https://www.theguardian.com/artanddesign/2010/dec/19/nam-june-paik-tate-liverpool-review|title=Nam June Paik – review|archive-url=https://web.archive.org/web/20161126202759/https://www.theguardian.com/artanddesign/2010/dec/19/nam-june-paik-tate-liverpool-review|archive-date=November 26, 2016|work=[[The Guardian]]}}</ref> 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]].<ref>{{Cite web|url=http://www.eai.org/titles/575|title=Electronic Arts Intermix: Media Shuttle: Moscow/New York, Dimitri Devyatkin; Nam June Paik|website=www.eai.org|access-date=June 28, 2020|archive-date=June 28, 2020|archive-url=https://web.archive.org/web/20200628094906/http://www.eai.org/titles/575|url-status=live}}</ref> The video 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.<ref>{{Cite web |url=http://stedelijkmuseum.nl/en/exhibitions/exchanges/past-presentations/71867 |title=TV-Buddha (1974) – Stedelijk Museum Amsterdam |access-date=October 10, 2017 |archive-url=https://web.archive.org/web/20171010155544/http://stedelijkmuseum.nl/en/exhibitions/exchanges/past-presentations/71867 |archive-date=October 10, 2017 |url-status=dead }}</ref><ref>{{Cite web|url=https://www.vmfa.museum/mlit/looking-buddha-watching-tv/|title=Looking at Buddha Watching TV – Art + Science|date=June 2, 2015|access-date=June 28, 2020|archive-date=June 29, 2020|archive-url=https://web.archive.org/web/20200629103103/https://www.vmfa.museum/mlit/looking-buddha-watching-tv/|url-status=live}}</ref><ref>{{Cite web|url=https://www.guggenheim.org/map_mohaiemen_arupbaruastress_563|title=Arup Barua, Stress, 2012|date=April 22, 2013|website=Guggenheim|access-date=June 28, 2020|archive-date=June 30, 2020|archive-url=https://web.archive.org/web/20200630031737/https://www.guggenheim.org/map_mohaiemen_arupbaruastress_563|url-status=live}}</ref>
[[File:Nixon, 1965-2002, Nam June Paik at NGA.jpg|thumb|right|''Nixon'' (1965–2002) at the [[National Gallery of Art]] in 2022]]

Another piece, ''Positive Egg'', displays a white egg on a black background. In a series of video monitors, increasing in size, the image on the screen becomes larger and larger, until the egg itself becomes an abstract, unrecognizable shape.<ref>{{Cite web|url=http://www.today.com/popculture/video-innovator-nam-june-paik-dies-74-wbna11098552|title=Video innovator Nam June Paik dies at 74|website=TODAY.com|date=January 30, 2006 |access-date=June 28, 2020|archive-date=July 1, 2020|archive-url=https://web.archive.org/web/20200701085119/https://www.today.com/popculture/video-innovator-nam-june-paik-dies-74-wbna11098552|url-status=live}}</ref> In ''Video Fish'',<ref>{{citation|last=Paik|first=Nam June|title=Video-fish|url=http://www.worldvisitguide.com/contact/A009212.html|publisher=World Visit Guide (insecula)|year=1974|access-date=December 18, 2012|archive-date=October 24, 2012|archive-url=https://web.archive.org/web/20121024111404/http://www.worldvisitguide.com/contact/A009212.html|url-status=live}}</ref> 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 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.{{citation needed|date=February 2023}}

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 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 (1984)|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 the Silk Road and Eurasia.<ref>{{Cite book |last1=Do |first1=Hyung-Teh |title=Nam June Paik: When he was in Seoul |last2=Suh |first2=Jin-suk |last3=Lee |first3=Yongwoo |last4=Fargier |first4=Jean-Paul |publisher=Gallery Hyundai |year=2016 |location=Seoul, South Korea}}</ref>{{Rp|page=22}} 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.<ref name="Lee-2021" /> ''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''<nowiki/>'s title referenced 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]].<ref name="Nam June Paik-2019" />{{Rp|page=145}} 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 the bustling business of [[Namdaemun Market]].<ref name="Lee-2021" />{{Rp|page=162}}

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 satellite broadcast ''Wrap Around the World,'' which was made for the [[1988 Summer Olympics|Seoul Olympics]].<ref name="Lee-2021" />{{Rp|page=152}}<ref name="Kac">{{cite web |last1=Kac |first1=Eduardo |title=Wrap Around the World |url=https://www.ekac.org/wraparoundtheworld.html |website=KAC |access-date=17 May 2025 |archive-url=https://web.archive.org/web/20250329143800/https://www.ekac.org/wraparoundtheworld.html |archive-date=29 March 2025 |date=10 September 1988 |url-status=live}}</ref> The same year, he unveiled ''[[Metrobot]]'', his largest statue and his first outdoor installation, at the [[Contemporary Arts Center]] in [[Cincinnati]].<ref>{{cite news|title=He's big, clunky and fun: City muses over Metrobot|first=Dave|last=Wells|work=[[The Cincinnati Enquirer]]|date=October 28, 1988|pages=D{{hyphen}}1–[https://www.newspapers.com/article/the-cincinnati-enquirer/151696450/ D{{hyphen}}2]|url=https://www.newspapers.com/article/the-cincinnati-enquirer/151695544/|via=Newspapers.com}}</ref>

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 the connections between Europe and Asia.<ref name="Nam June Paik-2019" />{{Rp|page=135}}

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]].<ref>{{Cite web|title=Electronic Superhighway: Continental U.S., Alaska, Hawaii &#124; Smithsonian American Art Museum|url=https://americanart.si.edu/artwork/electronic-superhighway-continental-us-alaska-hawaii-71478|url-status=live|archive-url=https://web.archive.org/web/20171010155231/https://americanart.si.edu/artwork/electronic-superhighway-continental-us-alaska-hawaii-71478|archive-date=October 10, 2017|access-date=October 10, 2017|website=americanart.si.edu}}</ref>
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 a millennium satellite broadcast entitled ''Tiger is Alive'' and in 2004 designed the installation of monitors and video projections Global Groove 2004<ref>A video from this installation can be found in the [[Experimental Television Center]] and {{citation|url=http://hdl.handle.net/1813.001/8946249|title=its Repository|hdl=1813.001/8946249 |archive-url=https://web.archive.org/web/20200517094322/http://goldsen.library.cornell.edu/etc/|archive-date=May 17, 2020}} in the [[Rose Goldsen Archive of New Media Art]], [[Cornell University Library]]</ref> for the [[Deutsche Guggenheim]] in Berlin.<ref name="Nam June Paik" /> Global Groove was turned into an [[Non-fungible token|NFT]]-based artwork and put up online at [[Christie's]], the global art auction house<ref>{{Cite web |last=Yuna |first=Park |date=2021-05-28 |title=Paik Nam-june's first NFT-based artwork offered by Christie's |url=https://www.koreaherald.com/view.php?ud=20210528000751 |access-date=2024-09-14 |website=[[The Korea Herald]] |language=en}}</ref> It sold for $56,250.<ref>{{Cite web |last=Yuna |first=Park |date=2021-06-09 |title=[Feature] NFT art shakes up Korean art market |url=https://www.koreaherald.com/view.php?ud=20210609000829#:~:text=Video%20art%20pioneer%20Paik%20Nam,a%20Christie's%20auction%20last%20week. |access-date=2024-09-14 |website=[[The Korea Herald]] |language=en}}</ref>