It is an enormous physical object that occupies a middle ground between the virtual reality of the media and the sprawling country beyond our doors. Paik was the first to use the phrase "electronic superhighway," and this installation proposes that electronic media provide us with what we used to leave home to discover. Today, the Internet and twenty-four-hour broadcasting tend to homogenize the customs and accents of what was once a more diverse nation. Born in South Korea, he lived and worked in Japan, Germany and the United States. Paik augmented the flashing images "seen as though from a passing car" with audio clips from The Wizard of Oz, Oklahoma, and other screen gems, suggesting that our picture of America has always been influenced by film and television. A frequent collaborator, he worked internationally with artists, performers and specialists from different disciplines. Always innovative, his work encompassed a variety of artistic genres, from sculpture and performance to music and live broadcasting. The different colors remind us that individual states still have distinct identities and cultures, even in today's information age. Nam June Paik (19322006) played a leading role in bridging the gap between art and technology. Neon outlines the monitors, recalling the multicolored maps and glowing enticements of motels and restaurants that beckoned Americans to the open road. Courtesy of the Estate of Nam June Paik and Asia Society. A major figure of the experimental Fluxus movement, Nam June Paik is considered the f ather of video arthis most famous sculptures feature real TV sets. Installation view of Nam June Paik: Becoming Robot at Asia Society Museum, New York, 2014-15. His art and ideas created a radical vision for this new art form. Paik’s archive was acquired by the S mithsonian American Art Museum (SAAM) in 2009, three years after the artist’s death, at the age of seventy-three. Paik’s understanding of past changes in technology made him presciently aware of potential futures and demonstrated how artists might be its best predictors. In Korea, modern art and history are intertwined in a complex social, psychological, and cultural dynamic. in your Chevrolet." Walking along the entire length of this installation suggests the enormous scale of the nation that confronted the young Korean artist when he arrived. Nam June Paik was the first artist to use this as well. When Nam June Paik came to the United States in 1964, the interstate highway system was only nine years old, and superhighways offered everyone the freedom to "see the U.S.A.
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