“I think I understand time better than the video artists who came from painting-sculpture,” says Paik, because “music is the manipulation of time. . . . As painters understand abstract space, I understand abstract time“
John Hanhardt (then of the Gugenheim Museum ) curated a retrospective of Paik’s work in 2000.
He writes:
Paik’s life in art grew out of the politics and anti-art movements of the 1950s, 1960s, and 1970s. During this time of societal and cultural change, he pursued a determined quest to combine the expressive capacity and conceptual power of performance with the new technological possibilities associated with the moving image.
I will argue that Paik realized the ambition of the cinematic imaginary in avant-garde and independent film by treating film and video as flexible and dynamic multitextual art forms.
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