A major retrospective of the works of Nam June Paik at the San Francisco Museum of Modern Art ranges widely, revealing the artist’s uncanny prescience when it came to creativity and technology
Nam June Paik’s ‘Sistine Chapel’ as seen in the current retrospective at the San Francisco Museum of Modern ArtNam June Paik is often called the “father of video art.” But he’s much more than that, as the career-spanning, internationally traveling retrospective at the San Francisco Museum of Modern Art makes clear.
is making its sole North American stop in the Golden State. With over 200 works in an abundance of media, it’s a detailed portrait of a singularly forward-thinking artist whose influence is strongly felt today.
We get an idea of Paik’s catholic creative mind in the first gallery with “TV Buddha” , in which an 18th-century wooden Buddha sits, staring straight ahead into a television screen that displays his own image, broadcast via a closed-circuit camera. On the one hand, it’s a humorous play—and Paik often laced his work with humor—on reflection, enlightenment and the challenges of meditation.
Paik’s radical prescience is on display in ways big and small in the next gallery, which looks at the period when he worked in the Studio for Electronic Music of West German Broadcasting in Cologne, and later at Bell Labs in New Jersey and WGBH-TV Boston. The “Paik-Abe Video Synthesizer” is hard to miss: a chunky control stand Paik developed with electrical engineer Shuya Abe in Boston that allowed him to manipulate video in real time.
Easier to overlook but not to be missed is “Do You Know” , a small screenprint in which Paik asks viewers if they realize “how soon artists will have their own TV channels.” While every artist might not have his or her own television station today, the internet and social media have given them a platform that would have been nearly unimaginable in the 1970s.
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