April 21–May 12, 2007
Opening Reception: Saturday, April 21, 6–8:30PM
3850 Wilshire Blvd #107, Los Angeles, CA 90010
Director, John Souza
Web site, http://www.andrewshiregallery.com
Hours, Tuesday - Saturday, 11am - 6pm
Please direct e-mail inquiries about the exhibition to the gallery’s address (above); DO NOT use “Reply” button, it will send to ArtScene.
To view formatted version of this announcement online:
Chapter One Is Better Than Chapter Eleven
1988 / 1990, antique television cabinet, acrylic paint, glass, phonograph horn, 20” GE television, 9” Zenith television, Sony Watchman television, Laser Disk player Model # MDP33, original Paik laser disk
TV Tulip (computerized one hundred flowers)
1998, ink jet prints (100 different images) each 32 x 42 cm, on paper rolls, affixed to the wall, and antique television console. Installation size according to the wall, TV's vary in model (dating from the 30's to 50's) and dimensions; installation size according to the wall. Limited to 15 installations, signed and numbered certificate
AndrewShire Gallery presents NAM JUNE PAIK: Selected Works, an exhibition of artworks by Korean-American artist Nam June Paik whose video art objects and installations offer a glimpse into the life of one of our most treasured artists. Considered the “father of video art” by some, Paik was a composer, performance artist and member of the legendary sixties neo-Dada international avant-garde Fluxus movement and the Happening scene in New York.
The exhibition will consist of a wall-sized installation of 100 images of tulips transformed into wallpaper editions with a vintage television set, plus video-based works and multiples constructed from laserdiscs, CDs, vinyl recordings and other found objects. Black and white photographs by Lim Young Kyun who documented Nam June Paik’s performances, events and activities for twenty years will also be shown.
Nam June Paik died on January 29, 2006. His presence lingers in the surprising array of ideas and artworks he left behind. These works signal the contribution the artist made to contemporary art and culture. Paik’s often whimsical compositions, video-objects and installations are studied portraits wherein the artist himself seems to look out across the distance from the work to a point inside each of us. These artworks, already held in preservation, are perpetually connected to us while appearing suspended in time due to their vintage look. They serve as elucidations in which the artist and his countless viewers are portrayed and linked even as their mutual search for meaning is in flight. In his absence, Paik somehow still lives out the revelations he experienced in the bounds of the work which endlessly reproduces his era and his vision.
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