As supplement to our recent Fluxus catalogue, we're pleased to issue this supplementary list relating to Nam June Paik—both as a pioneering new-media artist and in his performative relationship with the avant-garde celloist Charlotte Moorman. // Prices are listed in USD. For purchase inquiries, please phone (+1) 416-729-7043 or email email@example.com; priority given to first interest. Sold items marked via end-cap buttons; prices may be removed upon request. Items are guaranteed to be described and delivered to the collector's satisfaction; returns are acceptable within 10 days of receipt. Reciprocal terms are extended to the trade; institutional and pandemic policies are accommodated. To receive advance copies of future lists, please subscribe to our mailing list. Specific wants are always welcome, from both new and established collectors.
Paik, Nam June New School presents Nam June Paik... 8 January, 1965.
New York, 1965. Association copy. 350 USD Tall broadsheet programme (41.5 x 20 cm.); twice-folded as mailer, with some rubbing. Recto illustrated-after Peter Moore photograph of Robot K-456, with performance titles and credits. To verso: artist statement from Paik, illustrated via circuit diagram, along with Press excerpts regarding his early output. This association copy having been mailed to the Paris hotel of Earle Brown, with address accomplished by Moorman in her trademark red pen; having also underlined her performance credit to recto with red crayon. Some ghosting from postage tape.
Graduating from the University of Tokyo in 1956 with a degree in aesthetics, Nam June Paik made his way to Western Germany to continue his research into avant-garde music and (what would come to be called) intermedia, first earning attention with his 1963 exhibition at Galerie Parnass in Wuppertal (Exposition of music – electronic television), where he electronically manipulated a series of televisions as live sculpture/performance. A few months later, again at Galerie Parnass, Paik became one of the founding members of Fluxus, with their anti-concert,Après John Cage; soon emigrating to New York City in 1964 to join Maciunas & the gang. Offered here: the programme for Paik's one-night concert at the New School, being his first solo show in New York, through which his pioneering work with television, electronics, and robotics was first introduced to a North American audience. The concert would also represent one of the earliest collaborations between Paik and Charlotte Moorman—who here performed Paik's striptease Pop sonata for the first time (without interruption). Moorman, who mailed this particular programme to the proto-Fluxus composer Earle Brown, made sure to underline her performance credit as "cellorina."
In most histories of video art, 1965 qualifies as the artform's birth-year, when Nam June Paik famously captured footage of the crowds attending the Pope's first visit to the New World, while stuck in a yellow-cab with his newly-acquired Sony Portapak video-camera. His destination: the weekly Fluxus cabaret at Cafe Au Go Go in Greenwich Village, where he screened the footage for his comrades, initiating his aesthetic of open circuits. The present pair of ephemera draws a web of context to this mythical event, with: (1) an artist statement for his October contributions to the Cafe Au Go Go cabaret(Electronic video recorder), through which we can read the intentionality behind Paik's famous Portapak acquisition (which is otherwise often written-about as though it were a spontaneous event). And (2) a programme for his contribution to the New Cinema Festival on November 2nd, which preserves the strategies through which Paik positioned his pioneering new-media works within the cinematic tradition, while highlighting his collaborative relationships with the experimental filmmaking community (e.g. Robert Breer, Stan Vanderbeek, Stan Brakhage). Also here: some of the many prophetic statements issued by Paik, anticipating our digital society: e.g. "Laser idea No 3: Because of VVHF of Laser, we will have enough radio stations to afford Mozart-only stations, Cage-only stations, Bogart-only TV stations, Underground Movie-only TV stations etc. etc. etc."
With only a single OCLC or Library Hub record discovered for the first item (Northwestern); none for the second.
Moorman, Charlotte / Paik, Nam June [Ephemeral group from the duo's first two European concert tours].
Paris, Aachen, Berlin, Venice, Düsseldorf: 1965-1966. 600 USD An ephemeral group comprised of 5 items, being: (1) 2ième Festival de la Libre Expressionorganisé par Jean-Jacques Lebel; programme from Paris, 1965 (mimeographed on watermarked sheet, 27 x 21 cm.); (2) [Programme for Aachen concert]; mimeographed sheet (30 x 21 cm.), with minimalist text accounting for 12 works to be performed at June 3rd concert at unidentified locale (referred to in secondary literature as "university room"); (3) Siebte Soiree: Charlotte Moorman, cello. Nam June Paik, piano.Berlin: Galerie René Block, 1965. Programme for two evening concerts (Monday June 14th and Tuesday the 15th); bifolium (21 x 15 cm.), accompanied by loose invitation, printed recto-only to pink card (15 x 21 cm.), which announces a supplementary afternoon performance of Robot opera; punctuated with the mantra "Robot: instruction to humanity." (4) Gondola happening. Venice, 1966. Single xerographic sheet (21.5 x 28 cm.; slight bump to top corner), featuring quote attributed to John Cage ("Venice is the most progressive city of the world, since it has already abolished the automobile"). And (5) So langweilig wie Möglich / Vexations. Programme. Single sheet (30 cm.), showing age-toning with some loss to corners; nonetheless stable.
A scarce group of programmes and ephemera from the first two European concert tours of Nam June Paik and Charlotte Moorman, invaluable for documenting their (often late-night) repertoire of works by George Brecht, Earle Brown, John Cage, Giuseppe Chiari, Philip Corner, Dick Higgins, Toshi Ichiyanagi, Takehisa Kosugi, Jackson Mac Low, Yoko Ono, Dieter Roth, Erik Satie, James Tenney, Wolf Vostell, Emmett Williams, La Monte Young, and Paik himself; with world premieres often noted. Of note here: a programme from their first Paris performance at Jean-Jacques Lebel's second Festival de la Libre Expression, complete with note about their robot having been lost in the "international air labyrinth" after their concert in Iceland; a flyer for their infamous Gondola happening at the Ponte Rialto, in which they crashed the opening night of the 1966 Venice Biennale with a gondola performance in which Moorman jumped into the canal in the midst of Paik's Variations on a theme by Saint-Saens (partially to protest the decidedly anti-avant-garde approach of the American Section); and a rich programme from a July rendition of As boring as possible at Galerie René Block, which was followed the next evening when Paik and Moorman were joined by a relay team of pianists to perform Erik Satie's Vexations, with its minute-long theme repeated 840 times.
Wuppertal, 1965. 600 USD Large broadside (51 x 65 cm.), printed with green titles over architectural plan of Rolf Jährling's villa/performance space. Some sunning to fold-lines, with minor offsetting of green titles from previous folding; nonetheless, a well-preserved copy of a landmark poster.
Back in 1962, the architect Rolf Jährling asked Paik to hold a concert in his newly-acquired Art Nouveau villa in Wuppertal, an hour east of Düsseldorf. Transforming the villa into Galerie Parnass, Jährling's intention was to incubate a "germ cell of rebellion" and a Renaissance in post-War German art. The result of this inaugural commission was Kleines Sommerfest: Après John Cage; the public debut of the Fluxus brand. Three years later—and as something of a farewell party before he and his wife would mothball their gallery-villa for a road-trip through Africa—Jährling organized one final "buffet concert" (as Paik later dubbed it), to happen across a span of 24 hours, midnight-to-midnight, with each performer assigned a different room in the villa. Moorman and Paik were assigned to a large reception hall, where they performed an expanded version of the programme that they had been touring through Europe (see #02 above)—including a performance of Giuseppe Chiari's Per arco by Moorman on cello, in direct reference to the 21st anniversary of D-Day, which dawned at the very minute that the exhibition ended. The bold announcement poster cleverly communicates the exhibition's architectonics, with the performers and their 0h-24h timing super-imposed over a blueprint of the villa, which bears the stamp of Järhling's architectural firm. With only a single OCLC record discovered (Munich).
Moorman, Charlotte / Paik, Nam June [Ephemeral group from tours of college campuses].
Mostly New York State, 1967-1973. 450 USD Group of 8 items relating to five sets of appearances by Paik and Moorman on college campuses. Being: (1) Expanding perceptions in the arts. Schedule for Spring 1967 series at CUNY (Queen's College); single sheet (28 cm.); Fine. (2) Mixed media opera... Avant-garde music experience & underground film by Norman Berg. Bifolium programme (21.5 x 14 cm.) for December 1967 performance at UMass Amherst. (3) [Group of items relating to the Intermedia '68 tour]. Including: broadside poster (43 x 27 cm.), with hard fold-line to centre, advertising appearances at a number of SUNY campuses (New Paltz, Buffalo, Albany, Rockland, and Nazareth). Accompanied by programmes from two performances (Albany and unidentified); each 2 pp. with corner staples. (4) [Materials relating to Cornell University appearance], presented by CAST Productions and the Andrew Dickson White Museum, 1972. With over-sized poster (71 x 51 cm.; folded for mailing), illustrated after b&w photographs, with mailing label to the address of Stan Vanderbeek affixed to verso (showing through). Along with: programme, featuring matching cover, with 3 loose sheets of reproduced-typescripts for April 30th concert. And (5) Phoenix 73: four weeks with the expanding arts. Schedule of events for series of lecture-demonstrations, environments, and musical concerts/operas at the University of Illinois at Urbana-Champaign. With annotations in red ink from Moorman, identifying her concert with Paik at Smith Music Hall, as well as his lecture ("From electronic music to electronic opera") and video installation. Punctuated on verso with Moorman's Maciunas-esque hand-stamp; addressed to Pulitzer Prize-winning art critic Emily Genauer.
"Much of the best work being produced today seems to fall between media. This is no accident. The concept of the separation between media arose in the renaissance... [The] intermedium is an uncharted land that lies between collage, music, and theater. It is not governed by rules; each work determines its own medium and form according to its needs. The concept itself is better understood by what it is not, rather than what it is. Approaching it, we are pioneers again, and shall continue to be so as long as there's plenty of elbow room and no neighbors around for a few miles" (Dick Higgins, 1966). While their works can often be dismissed as an assortment of stunts and gags, Paik and Moorman were indeed engaged in the general re-interrogation of aesthetics that was taking place in the second half of the 1960s. Present here: an ephemeral group documenting their reception on American college campuses, whether under the banner of intermedia or mixed-media; along with the likes of Allan Kaprow, Robert Morris, La Monte Young, and Zaj.
Paik, Nam June State University of New York at Stony Brook Department of Art presents Nam June Paik.
Stony Brook, NY: SUNY, . 75 USD Bifolium (20 x 13 cm.), printed on glossy stock, with covers illustrated after electronics diagrams.
Simple brochure, featuring laudatory text, produced for an exhibition of Paik's work at SUNY Stony Brook, where he was researching the affordances of electronic communications as consultant to the Instructional Resources Center (thanks to a $13,700 grant from the Rockefeller Foundation). "The Department of Art... is happy to present and looking forward to the experience of the Nam June Paik exhibition. An hour in the studio and a few conversations have awakened a hope for future delight." With 3 OCLC records discovered (Northwestern, Boston, Baltimore).
Charlotte Moorman: far-out cellist... Nam June Paik: composer, etc. from Korea. First London concert. London: Institute of Contemporary Arts, 1968. 150 USD Group of two items: (1) a creatively-designed programme, printed-and-folded diagonally to rectangular card (19.5 x 39 cm.), to form irregular pentagon-shape. Printed both recto/verso, with some bumping to corners. And (2) a press release on I.C.A. letterhead (30 cm.), announcing a second concert; with some text reproduced from programme.
Materials issuing from two mixed-media concerts from Moorman and Paik at London's Institute of Contemporary Arts, at the time of its famed Cybernetic Serendipity exhibition; the first concert (September 23rd at 8pm) billed as the duo's London premiere, with the second (September 28th at 11:30pm) apparently produced in spontaneous fashion, with the press release announcing that it had been scheduled "by popular demand," with a slightly different list of composers to be performed. Both the programme and press release reproduce the wide range of reception that the duo had received: from Edgar Varese (who christened Moorman the "Jeanne d'Arc of new music"), to John Cage (praising an oeuvre that "amuses, surprises, shocks, sometimes terrifies"), to an un-named Icelandic newspaper, which simply cried: "dirt." NB: the first concert included the screening of "a new film" by Stan Brakhage.
TV as creative medium. New York: Howard Wise Gallery, 1969. 350 USD Sheet of textured paper (37 x 44 cm.), printed both recto/verso, with recto composed into four individual panels (18.5 x 22 cm.). Verso composed as full-page layout, featuring 11 artist statements; statement for Gillette and Schneider's "television mural" (Wipe cycle) illustrated by schematic. Slight impression to front panel; otherwise Near Fine.
Handsome catalogue from this pioneering exhibition—arguably the first in the United States devoted exclusively to video-art—introduced by gallerist Howard Wise: "Ever since Marshall McLuhan has become a household name, people have become aware of the tremendous force, both actual and potential, that TV is having and will have on their lives... Why has not art been affected by this all pervading influence? Perhaps quite simply, because, up until now the time was not right. Perhaps it had to await the maturing of the generation who were in their sub-teens in the 1950's, those who were 'brought up' on TV... As in every generation, some were artists. These have been at work for two, three, five and even more years, scrounging around second hand shops for parts, working with TV because they were fascinated with the results they were able to achieve, and because they sensed the potential of TV as the medium for their expression." The vernissage featured a five hour performance from Charlotte Moorman, including the world premiere of Nam June Paik's TV bra for living sculpture. Other exhibited works included: Participation TV (Paik), Wipe cycle (Frank Gillette and Ira Schneider), Three experiments within TV tube (Earl Reiback), Telediscretion (Serge Boutourline), Everyman's Moebius strip (Paul Ryan), TV time capsule (John Seery), Psychedelevision in color (Eric Siegel), The Archetron (Thomas Tadlock), Black spiral (Aldo Tambellini), and AC/TV: (audio controlled television) (Joe Weintraub). With five OCLC records discovered; only 2 of those in North America (MoMA, Northwestern).
Music and video concertu. New York: The Kitchen, 1973. 150 USD Graphic broadside (43 x 27 cm.), with hard fold-line to centre; otherwise bright and crisp.
Striking poster for a now-obscure concert, in which Moorman and Paik collaborated with musician/sculptor Yoshi Wada, who was on the verge of releasing his album Earth horns with electric drone. Produced by a concern identified as the Intermedia Institute, with the uncredited design appearing to reference the enso circle.
Global groove. New York: WNET TV/13 (The Television Laboratory), 1974. 200 USD Broadside (47 x 32.5 cm.), illustrated after full-page photograph by Peter Moore, featuring Paik looking over Moorman, seated with cello; with various faint images superimposed. Fine condition.
Another Paik/Moorman poster designed by Jim McWilliams, corresponding to a TV programme airing October 2, 1974 (10:30 pm) on Channel 13, where Paik helped found an experimental television laboratory. This production credited to Paik and John Godfrey, with Merrily Mossman as Director. Contributors: Allen Ginsberg, Peggy Lombard, Susan Bottoms, Charlotte Moorman, Jud Yalkut, and John Cage. Global groove would be one of the programs to appear on the multiple televisions in Paik's TV garden installation (see #11).
Paik, Nam June / Warhol, Andy / Nauman, Bruce / Serra, Richard / Various others
Video art USA: XIII São Paolo Bienal. São Paolo, 1975. 240 USD Tall wrappers (28 x 15 cm.), fully-illustrated after photograph of Paik's TV garden installation. With inscription from Paik in orange crayon to title page. Contents: 71,  pages, with catalogue of 32 works preceded by general introduction from Jack Boulton (Cincinnati Contemporary Arts Centre), and a survey of video art from David Ross (Long Beach Museum of Art); concludes with bibliography. Text in Portuguese.
From the exhibition curated by Nina Sundell at the thirteenth edition of the São Paolo Biennale (October through December, 1975). In addition to Paik's TV garden—an image of which is expanded across both covers—the catalogue details a list of 32 exhibited video-art works from a group of American artists, including Vito Acconci, John Baldessari, Frank Gillette, Nancy Holt, Allan Kaprow, Beryl Korot & Ira Schneider, Les Levine, Bruce Nauman, Dennis Oppenheim, Richard Serra, Keith Sonnier, Woody & Steina Vasulka, Bill Viola, and Andy Warhol (with The underground sundae); each work documented by meta-data, still image, and artist biography. With 7 OCLC records discovered in North America
Jail to jungle. [Group of concert ephemera]. New York: Carnegie Hall, 1977. 250 USD Group of 3 items: (1) event poster, designed by Jim McWilliams; broadsheet (44 x 27 cm.), printed in blue-and-yellow to pink paper and illustrated after photographs by Peter Moore. Horizontal fold to poster; else Fine. (2) Handsomely-printed press release, with loose summary sheet accompanied by a detailed biography of Paik (2 pp. stapled). And (3) an entrance ticket for the February 10th performance (4 x 9 cm., on red stock).
From the 1977 concert at Carnegie Hall that was organized to mark the 10 year anniversary of Moorman's NYC arrest for obscenity during the topless second movement of Paik's Opera sextronique at the 41st Street Theatre. On this occasion, Moorman would perform the piece in its entirety for the first time in North America. In addition, Moorman and Paik performed a dramatization of the 1967 trial in which she was found guilty. The programme—produced by Norman J. Seaman, who also produced the benefit concert to cover Moorman's legal fees in 1968—also featured the premiere of Guadalcanal requiem (1977); a 50 minute video of the duo's visit to the Solomon Islands; thus providing the telos of their "jail to jungle" decade.
[Poster advertising events affiliated with Paik retrospective]. Paris: Musée d'Art Moderne de la Ville de Paris / Centre Culturel Americain, . 150 USD Broadside (56 x 40 cm.), illustrated after black-and-white photographs by Peter Moore of Moorman performing TV cello and Paik amidst his TV garden installation. Signed by Paik in red marker, beneath workshop notice.
Advertising a series of events affiliated with the Nam June Paik retrospective held between the l'ARC department (Animation-Recherche-Confrontation) at the Musée d'Art Moderne de la Ville de Paris and the Centre Culturel Americain—including five performances by Paik and Moorman (of both TV cello and TV bra), screenings of Paik's recent video works (Global groove, Guadalcanal requiem, and Marcel, Marcel), and a two-day video art workshop with Paik, open to local "professionnels de la video."
Ohne Titel (Prof. Graubner). Düsseldorf: Staatliche Kunstakademie Düsseldorf, 1986. 400 USD Colour offset print (35 x 37 cm.) to large sheet (53 x 40 cm.), with Paik's signature in pencil to lower right corner. Slight scuff to upper margin; otherwise a crisp and clean copy. One of 15 prints from the scarce portfolio: Mappe für Freunde und Förderer der Kunstakademie Düsseldorf. Ref.: Paik on Paper, p. 121.
In 1979, Paik was hired to teach at the Kunstakademie in Düsseldorf, where the German painter Gotthard Graubner was also teaching. In 1986, the school issued a portfolio for its supporters, which included the present image of Graubner from Paik, not particularly known for his photography. With no OCLC copies discovered for this portfolio (nor via KVK); a recent auction record suggests that 170 copies were printed.