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In Paik’s Virtual Archive, Hanna B. Hölling 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. In Hölling’s discussion of works by Nam June Paik (1932–2006), the hugely influential Korean American artist who is considered the progenitor of video art, she explores the relation between the artworks’ concept and material, theories of musical performance and performativity, and the Bergsonian concept of duration, as well as the parts these elements 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 Paik’s work but in contemporary art in general. Ultimately, she proposes that the archive—the physical and virtual realm that encompasses all that is known about an artwork—is the foundation for the identity and continuity of every work of art.
Price: $65.00
Pages: 264
Publisher: University of California Press
Imprint: University of California Press
Publication Date:
07 February 2017
Trim Size: 10.00 X 7.00 in
ISBN: 9780520288904
Format: Hardcover
BISACs:
““How do we care for the increasing number of artworks that challenge previously accepted notions of time and space? Hanna Hölling’s new book is an ambitious and clear-eyed attempt to provide an answer to that question, calling for a fundamental rethinking of curatorial and conservational notions of time and change in media artworks. . . . And yet, as Hölling makes clear, there is no going back when it comes to Paik. . . . Her combined museological and academic outlooks uniquely shape Paik’s Virtual Archive, a book that will likely become required reading in curatorial and preservation graduate programs, and which will also be of keen interest to scholars in the fields of modern and contemporary art and media studies.”
Hanna B. Hölling teaches material culture, cultures of conservation, and postwar art history at the Department of History of Art, University College London. She was previously Andrew W. Mellon Visiting Professor, Cultures of Conservation, at the Bard Graduate Center in New York. Her research has been supported by Terra Foundation for American Art, Getty Foundation Residential Grant, Swiss National Science Foundation, and the Dutch Research Council. Among her publications are Revisions—Zen for Film, and co-edited volume The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures.
List of Illustrations
Acknowledgments
Introduction: Revisiting the Object
PART I. CONCEPT AND MATERIALITY
1. Two Works
2. Conceptual and Material Aspects of Media Art
3. Musical Roots of Performed and Performative Media
PART 2. TIME AND CHANGEABILITY
4. Zen for Film
5. Changeability and Multimedia Art
6. Time and Conservation
7. Heterotemporalities: Film Time, Video Time, and Paik Time
PART 3. ARCHIVE AND IDENTITY
8. The Material and the Immaterial Archive
9. Archival Implications
Conclusion: The Many Archai of Conservation and Curation
Notes
Bibliography
Index
Acknowledgments
Introduction: Revisiting the Object
PART I. CONCEPT AND MATERIALITY
1. Two Works
2. Conceptual and Material Aspects of Media Art
3. Musical Roots of Performed and Performative Media
PART 2. TIME AND CHANGEABILITY
4. Zen for Film
5. Changeability and Multimedia Art
6. Time and Conservation
7. Heterotemporalities: Film Time, Video Time, and Paik Time
PART 3. ARCHIVE AND IDENTITY
8. The Material and the Immaterial Archive
9. Archival Implications
Conclusion: The Many Archai of Conservation and Curation
Notes
Bibliography
Index