The group selected six artists, including Paik, to take part in a pilot programme. In 1968, as Wise was organising another show, TV as a Creative Medium, he met a group of producers from the Ford Foundation’s recently established Public Broadcasting Laboratory who were embarking on an initiative to enlist artists to collaborate with public television. There, he had been exhibiting his work at the upstart Galeria Bonino when the gallerist Howard Wise – a promoter of kinetic, light and electronic art – included his work in a 1967 group show, Lights in Orbit. Paik came to WGBH four years after his move from Germany to New York City. While recovering understudied work by a major video artist, this paper also sheds light on post-war artists’ shifting ideas about the value of viewer participation and the potential of technology’s global reach. The work Paik produced for the station reveals how he moved from efforts to achieve direct participation to programmes that present a more expansive understanding of audience engagement, with the crux of this shift occurring in 1970. Paik came to realise that, while television could not easily accommodate the physical participation he had invited in his sculptures, what it could do is disseminate ideas to a broad audience and unsettle habitual ways of thinking. His productions for WGBH show how his thinking about this unknown audience evolved over time. TV: You give away through airwave… you don’t even know, to whom it went.’ 2 In a 1972 letter to John Cage, Paik explained, ‘TV is … a form of giving away… even more so than music. ![]() In contrast with the audiences at the performance festivals and gallery exhibitions to which he had previously been accustomed, television audiences were anonymous, geographically dispersed, and, as they were likely watching from home, susceptible to a range of distractions. Addressing the whole of Paik’s work there, with particular focus on his most ambitious project – the four-hour Video Commune 1970 – it shows how Paik sought to reconcile the artistic aims he had been articulating in other media with the distinct nature of broadcast television.īroadcasting forced Paik to confront the question of audience in a completely new way. This paper draws from unpublished archival documents and conversations with the station’s producers to provide a fuller picture of Paik’s engagement with WGBH. ![]() Considering that WGBH was the site of many ‘firsts’ for Paik – including his first production for broadcast and the invention of his video synthesiser – it is surprising that little scholarship has been produced on this strand of his work. Eschewing traditional formats, his programmes were hallucinatory collages of abstract, electronic images interwoven with footage of avant-garde performances and references to pop culture, often framed by dry voiceover narration. During the years that followed, he developed a body of work at the station that subverted all conventions of public television. ✔️ Due to the nature of digital products, refunds are not possible once the files have been downloaded.In 1968 the artist Nam June Paik arrived at the studios of WGBH-TV in Boston. ✓ Any personal use - Except for freebie, share ✓ Not for selling digital products - Downloadable or Printable files, etc. ✓ Our files cannot be uploaded for commercial sale, to any print-on-demand or production partner websites. ✓ Images may not be resold or sold in packs, bundles, etc. ✓ You can send us an email at: OsumArts (~AT~) gmail (~DOT~) com, we will always try to respond to messages within 24 hours. ✓ If you need help with your digital item: Please have a look at your spam mailbox as well. Please login to Etsy on any web browser and You can download files in "Purchases & Reviews"Īs soon as your payment is done, you will receive an email from Etsy ✓ Through your PC / LAPTOP Web Browers (Safari, Chrome.etc) ✔️ Etsy App DOES NOT SUPPORT file downloads on your PHONE. An email will be sent to the address you have associated with your Etsy account with a link for your download. The files will be delivered electronically within minutes of your order and payment. No physical product will be shipped and the frame is not included. ✔️ Please Note: This is a DIGITAL DOWNLOAD only. ![]() Depending on the format, print/photo may differ slightly. The files are sent in High-Resolution 300 DPI, this will ensure that you will receive high-quality printing. ✔️ You will receive Scalable FOUR ( 4 ) High-Resolution 300 dpi JPG files. The illustration depicts the film's stars, Dutch-British actress Audrey Hepburn and American dancer-actor Fred Astaire. Theatrical poster for the American release of the 1957 film Funny Face. Funny Face Movie 1957 Rare Original Poster, INSTANT DOWNLOAD, 4 JPG Image Sizes (A2, A3, A4, A5 )
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