Programmed: Rules, Codes, and Choreographies in Art, 1965–2018

Sept 28, 2018–Apr 14, 2019


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Signal, Sequence, Resolution:
Liberating the Signal

5

The artists in this grouping use electronic or digital signals as their material but subvert the signals’ intended function, thereby “liberating” them from their original purpose. In doing so, they draw attention to the potential for signals to be carriers of instructions and visual information. Nam June Paik’s Magnet TV creates visual effects by distorting a television’s electronic signal, while digitally manipulated signals are an element of Cory Arcangel’s Super Mario Clouds for which the artist reprogrammed a Nintendo cartridge to erase the sound and all visual elements except for the clouds from the iconic video game. Signal and image resolution are explored by Jim Campbell, who programs LEDs to create cinematic and spatial images in both a room-sized installation and screen-based works.

Nam June Paik, Magnet TV, 1965

A large magnet on top of a television.
A large magnet on top of a television.

Nam June Paik, Magnet TV, 1965. Modified black-and-white television with magnet, 38 3/4 × 19 1/4 × 24 1/2 in. (98.4 × 48.9 × 62.2 cm). Whitney Museum of American Art, New York; purchase with funds from Dieter Rosenkranz 86.60a-b. © Nam June Paik Estate

Magnet TV is an early example of Nam June Paik’s “prepared televisions,” works in which he altered the television’s image or its physical casing. This work consists of a seventeen-inch, black-and-white set with an industrial-size magnet resting on top of it. The magnetic field interferes with the television’s reception of electronic signals, distorting the picture into an abstract form that changes when the magnet is moved. Paik’s radical action undermines the seemingly inviolable power of broadcast television by transforming the TV set into a sculpture, one whose moving image is created by chance and can be manipulated at will. Through his alteration of the television image, Paik challenged the notion of the art object as a self-contained entity and established a process of instant feedback, whereby the viewer’s actions have a direct effect on the form and meaning of the work.


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