The Korean born video artist Nam June Paik has a special place in contemporary American Art history; he is widely known as “the Godfather of Video Art.” He resided in New York until his recent death. As the legend goes, in the sixties, Paik was one of the first to receive a Sony camcorder. On his way home in the cab from Rockefeller Center, Paik placed the camera out the window and shot what is widely acclaimed to be the first work of video art, an unedited piece of grainy raw footage. It was an action that today seems so normal, but imagine the importance of an artist so quickly seeing the potential in this new technology. Over the years Paik became internationally recognized as a conceptual video artist and his work has been exhibited and collected by major art museums around there world including ones in Germany, Australia, Spain, the U.S. and so on.Nam June Paik, 1986 (Photo, Rainer Rosenow)
“Watching Buddha”Mixed media, 46 7/8 x 15 3/8 bys 475/8 in.
http://www.paikstudios.com/bio.html
This work is for sale and for a million dollars and change, it can be yours.
“Watching Buddha” is a work of art comprised of a wooden painted elephant that has a sculpture of a glided Buddha roped on top of its back. Buddha is sitting in the lotus position on top of a prayer rug. The Buddha is directly facing a video monitor. Next to the elephant is a camera on top of a tripod recording the Buddha’s face, which is staring at the monitor of his own image. The cyclical meditative nature of the piece is critical. Paik drew his inspiration and images from his own life. He was a devout Buddhist and would create many variations on that theme, using the elements of TV and Buddha in his lifetime.
Alexander Roos Extra Credit #2 -1
1 comment:
I think conceptually this artist has really gone outside the box. I mean, not only creating and manipulating videographic footage, but incorporating statue and mixed media in his exhibition of these videos adds a whole 'nother dimension to the craft of videography and cinematic expression. It is interesting that he was able to acquire such a unique perspective on art coming from Korea, a country that most wouldn't quickly associate with avant-garde technological art. But it is clear to see in his work the cultural influences from his home country, for example the inclusion of the Buddha icon, which is an enormous cultural symbol throughout Southeast Asia. I have traveled extensively throughout that region of the world and have found that the artistic influences the cultures and societies have to offer are vast. I am especially fascinated by Eastern mysticism, religions, and spirituality. Clearly, so too was this artist.
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