Nam June Paik changed into a Korean-American Contemporary Video Artist of the early twentieth century. Born on July 20, 1932, in Seoul, to a fabric entrepreneur father, Nam June began his musical education as a classical pianist proper from an early age. He but needed to reduce it short due to the circle of relatives’s migration to Japan through Hong Kong in 1950 during the Korean War (1950-fifty three).
Nam June Paik graduated from the University of Tokyo in 1956, in which he wrote his first thesis on an Austrian-American composer Arnold Schoenberg (1874-1951). Then he moved to Germany wherein he studied the records of song at the Munich University. Here he also met composers John Cage (1912-92), Wolf Vostell (1932-98), and Karlheinz Stockhausen (1928-2007) who evoked Paik’s hobby in Electronic Arts. Inspired via John Cage and his approach of using daily sounds in track, Nam participated in Fluxus, a Neo-Dadaist artwork style. He debuted at the ‘Exposition of Music-Electronic Television,’ an exhibition where he used distorted images on television units. Paik become taken into consideration the primary artist to include Audiovisual Art, merging video and audio facts into a single piece.
Paik moved to New York in 1964 and collaborated with American cellist cello bow cost & performance artist Charlotte Moorman (1933-91) to combine his electronic visual presentation with her track & overall performance. In the work ‘TV Cello,’ they used stacked television sets to form a cello version, which showed an photo of her playing cello as she drew the bow throughout the display. Paik and Moorman labored together on ‘Opera Sextronique’ (1967) and ‘TV Bra for Living Sculpture’ (1969). Nam June Paik is considered the daddy of the time period ‘Information Superhighway,’ which refers to digital verbal exchange systems and the net telecommunications network. In 1974, he even innovated the idea of ‘Electronic Superhighway’ in his transcript known as ‘Media Planning for the Postindustrial Society.’ The identical year, an American media technologist Judson Rosebush (b. 1947) compiled Paik’s early works in a ebook titled ‘Nam June Paik: Videa ‘n’ Videology 1959-1973,’ published by using the Everson Museum of Art, Syracuse, New York.
Nam June Paik’s famous works consist of ‘Something Pacific’ (1986) with the faces of sitting Buddha on a closed circuit TV. ‘Positive Egg’ had a video of white egg displayed on the monitor. He used the photographs of fish in aquarium on exclusive monitors for his album ‘Video Fish’ (1975). His exquisite piece ‘Electronic Superhighway: Continental U.S., Alaska, Hawaii,’ (1995) is an exemplary work on cultural grievance. The piece stays displayed in the Lincoln Gallery of the Smithsonian American Art Museum, Washington DC, wherein he conveys his message about America’s obsession with television and moving frames. Paik additionally created robots the use of wires & metals and eventually radio & tv parts.
A display of Paik’s work changed into held in 1982 at the Whitney Museum of American Art, New York. Here, he confirmed a linkage between South Korea, New York, and Paris. In his paintings ‘Bye Bye Kipling’ (1986), Paik created a tape with diverse live applications from South Korea, Japan, and USA. In 1988, he created ‘The More the Better,’ a large tower of 1003 monitors for the Seoul Olympic Games. He served as a professor at Kunstakademie Düsseldorf, Dusseldorf, all through 1979-96. Paik suffered a stroke in 1996 that left him in part paralyzed. In 2001, the International Sculpture Centre honored him with a Lifetime Achievement Award. Nam June Paik died on January 29, 2006, in Florida.