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Phase 1 included overall in depth examination and documentation of the display technology identification of condition issues and risk associated with electrical components, fire safety, and ventilation and preparation for exhibition–monitor repair, calibration, and addressing weak signal flow. This complexity led to the division of conservation goals into three main phases: physical assessment and preparation for display addressing media technologies and their potential obsolescence and migration and storage and preparation for loan or travel. The task of developing a thorough record of Video Flag’s history and functionality is compounded given the work’s scale, fragility, ever-aging technology, and complexity. In order to exhibit and preserve complex installations such as this, the elements and behavior that are essential to the work must be accurately examined and contextualized. In 2015, after over seven years in storage, the examination and conservation of Video Flag became a priority for the conservation department, and a multi-year conservation effort was launched, culminating in the exhibition of Video Flag at the Hirshhorn in the summer of 2019.Īs a multi-channel video installation consisting of numerous sculptural and functional components, Video Flag requires robust conservation documentation and treatment. A popular work in the collection, Video Flag was on frequent view, and other preservation efforts, such as the addition of fans, rewiring, and television assessment and calibration significantly increased the exhibitability of the work in the early 2000s. Shortly after the work’s arrival at the museum, the process of migrating the work from its original LaserDisc players to DVD players began, in collaboration with the Paik Foundation and electronics specialist, Dan Meijer, C.E.T. The always-present image of the flag serves as a backdrop against which these individual cultural events, personas, and technologies are experienced, recalled, and understood.Īs with many time-based media works, quickly changing technologies and equipment obsolescence has necessitated active conservation intervention several times over the course of Video Flag’s life at the Hirshhorn. CRT monitors represents the American flag’s stars and stripes through flashing imagery of technological advances and iconic moments from American politics: news stills, rotating shots of the State of Liberty, scrolling streams of zeros and ones (the binary language of computers), and a morphing sequence portraying U.S. Pictured on view at the Hirshhorn Museum and Sculpture Garden in 1996.

1a, below: Video Flag, 1995, Nam June Paik. Video Flag incorporated the latest advances in video technology at that time, including LaserDisc players and programmable and custom switchers that merge four video channels into a collage of split-second images and binary numbers.įig. The Hirshhorn’s Video Flag, acquired in 1996, has significant variations in technology, size, and construction compared with the earlier Video Flags X, Y, and Z, reflecting Paik’s continual integration of newer technologies (see fig. These works are composed of 84 10” CRT monitors in a 7 x 12 grid within a plexiglass frame. In 1985-6, he created three works using the American flag: Video Flag X (Detroit Institute of Art), Video Flag Y (Chase Manhattan Bank), and Video Flag Z (Los Angeles County Museum of Art). In 1982, Paik used televisions and video channels to form a configuration of the French flag for the Musée National d’Art Moderne.

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Paik’s later work included a series of sculptural television constructions–or walls.

In his early work, the artist began making altered televisions, wherein he manipulated television signals with magnets and used video feedback, synthesizers, and other technology to produce kaleidoscopic shapes and luminous colors. Nam June Paik, a seminal pioneer of video art was known for fusing new technologies to create unusual and evocative works that continue to raise questions about the construction of culture.