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"Paik's virtual archive contemplates the identity of multimedia artworks by reconsidering the role of conservation in our understanding of what the artwork is and how it functions within and beyond a specific historical moment. Using examples by Nam June Paik (1932-2006), the hugely influential Korean American artist who is considered the progenitor of video art, the book explores the relation between the artworks' concept and material, theories of musical performance, performativity, and the Bergsonian concept of duration and the parts they play in the conceptualization of multimedia artworks. Hölling combines her astute assessment of artistic technologies with ideas from art theory, philosophy, and aesthetics to probe questions related to materials and materiality not just in the work on Paik, but in contemporary art in general. Ultimately, she proposes that it is on the basis of the archive--the physical and virtual realm that encompass all that is known about an artwork--that the identity and continuity of such artworks are created and sustained." -- Provided by publisher.
fonds [collections] --- television [telecommunication system] --- installations [visual works] --- preserving --- music [performing arts] --- multimedia works --- sculpture [visual works] --- sound art --- video art --- sound [acoustics] --- Art --- electronic music --- Paik, Nam June --- Paik, N.J. --- Video art --- Multimedia (Art) --- Themes, motives. --- Conservation and restoration. --- Paik, Nam June, --- Criticism and interpretation. --- music [performing arts genre]
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"Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms-such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components-that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved. This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object-Event-Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators"--
Art --- earthworks [sculpture] --- installations [visual works] --- multimedia works --- happenings --- restoration [process] --- collecting --- video art --- performance art --- preserving
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