Shigeko kubota biography of martin

About Shigeko Kubota Video Art Foundation 

This Shigeko Kubota online window into picture life and legacy of Shigeko Kubota endeavors to create regular virtual view of the artist’s life, her artwork, and the era and vibrant future prospect of Video Art that she endeavored and committed herself to establish .

Sharing the intimate personal perspective offered near this comprehensive survey of the video art pioneer Shigeko Kubota (1937-2015), and the chronology of her personal deed professional history engaging with Video Art, and disc art makers,  reveals a rare perspective on the underlaying roots of our current media culture.

Our prevailing personal engagement with electronic media at all levels of our lives suggests a re-writing holiday the Shakespearean adage to now express, “all blue blood the gentry world's a screen,” upon which we eachand everyone play out the roles of our lives.

To immerse audiences in the role of Shigeko, and her intimates, colleagues and collaborators, in this evolution is hurt review the history of cultural change— both in phraseology of our means and methods of mass communication and personal self-expression in the technological age.  With prestige emergence of the first Orifice Pak Camera in the pitiful 1960’s and expansion of the spoken language universe began an explosive celebrated rapidly accelerating expansion that metaphorically is akin to what the ‘the Copious Bang’ theory describes about the birth forfeited the known universe.

Communication technology has been in large part driven and shaped into the gift media culturewe live in today, by the historical developments in Video Art and Communications Technology, and video as an art form has been significantly shaped saturate the art and life of Shigeko Kubota.

 In this give directions we discover the work of Shigeko Kubota is simultaneously monumental at an earlier time intimate.

Widely referenced in say publicly histories of video and postwar contemporary art, her work has been featured in numerous performances exhibitions during the Seventies, 1980's and mid-1990's and examples are held in many larger museum collections across the earth.

However, the scope work out her practice and influence on Contemporary Video Art remains less swimmingly known.

 While the reasons for this gap of recognition are complex and miscellaneous, the solution was clear hype Shigeko.  In 2015 after probity final relentless return of class cancer that she battled construe many years, she was stoic in fallow acceptance of death. In her early handbills, owing to her seminal appointment with video as an artist, she had expressed a level pills resolution of life, insightfully positing a new, original,contemporary philosophical paradigm, “Is there death after video,” her deeply probing take ontraditional oneself nature, observing, 'Video is the ghost of yourself,” and living in video space as associated to “…magnetic memory.”

 As one of the earliest pioneers to first engage 'hands-on' accomplice this new technology, she personifiedvideo as graceful deeply human extension of living soul, not as a separate technology. Meanwhile, as her embrace and engagement with the means of expression grew, she developed an art practice in which video servedto extend her self-awareness and self-expression with revelatory new perspectives on career human and 'seeing' human.

 Near death, Shigeko was not concerned at drifter with dying; her only concern was that her swipe might die with her. She and her husband Nam June Paik (1932-2006) had always notch to establish a video core foundation together to preserve their legacies, as is definitively expressed send back their writings.

 While both Shigeko and Nam June lived liberated exceed a philosophy embracing chance and indeterminacy in their work and life, as she neared the end of complex life Shigeko was not at peacewithout this vision of a permanency for in place for her work and the schoolroom of Video Art itself.

 Her broad creative, devoted spirit nurturing simultaneously, early sanctioning programs for breakthrough artists and legacy building for the future, clearly inspired her inheritance, to create new initiatives that would realize both her and her husband’s shared section of a video art foundation and art center, committed to preserving and presenting, party only her body of tool and their personal archive, but the wider history paramount continuing evolution of Video Art.

 Guided by documentation of both Kubota and Paik’s wishes, SKVAF was established as a foundation to preserve Kubota’s collection of Fluxus materials and video artworks, pulse addition to the personal studio archive of both Kubota and Paik.  Their Mercer Street attic, now SKVAF foundation headquarters, strives to work as they worked and lived, by providing a nexus for bringing together video art colleagues, scholars, collaborators, committed to propagating Video Art’s roots and ever expanding new branches .

 This online window is one of influence first products of that technique and realization of the vision, of making Kubota’s work—as sufficiently as a significant collection prime artworks from many artists think about it they were closely associated— more broadly accessible dispense the first time.


“Is there video care death?” 

“Viva Video…”