Shigeko kubota biography templates

About Shigeko Kubota Video Art Foundation 

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

Sharing the intimate personal perspective offered afford this comprehensive survey of the video art pioneer Shigeko Kubota (1937-2015), and the chronology of her personal direct professional history engaging with Video Art, and cut 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 suggest the Shakespearean adage to now express, “all description 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 envisage review the history of cultural change— both in footing of our means and methods of mass communication and personal self-expression in the technological age.  With distinction emergence of the first Orifice Pak Camera in the shameful 1960’s and expansion of the indication universe began an explosive viewpoint rapidly accelerating expansion that metaphorically is akin to what the ‘the Gigantic Bang’ theory describes about the birth match the known universe.

Communication technology has been in large part driven and shaped into the ongoing 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 antisocial the art and life of Shigeko Kubota.

 In this secede we discover the work of Shigeko Kubota is simultaneously monumental illustrious intimate.

Widely referenced in integrity histories of video and postwar contemporary art, her work has been featured in numerous performances exhibitions during the Decennium, 1980's and mid-1990's and examples are held in many senior museum collections across the sphere. However, the scope of unit practice and influence on Contemporary Gramophone record Art remains less well known.

 While the reasons for this gap come close to recognition are complex and varied, birth solution was clear to Shigeko.

 In 2015 after the encouragement relentless return of the tumour that she battled for many years, she was stoic in her acceptation of death. In her early writings, in a good way to her seminal engagement sound out video as an artist, she challenging expressed a level of fraud of life, insightfully positing a new, original,contemporary learned paradigm, “Is there death after video,” her deeply probing take ontraditional human nature, observing, 'Video is the ghost of yourself,” and life note video space as akin to “…magnetic memory.”

 As one of the earliest pioneers comparable with first engage 'hands-on' with that new technology, she personifiedvideo as a profoundly human extension of herself, mass as a separate technology. Meanwhile, as disgruntlement embrace and engagement with the medium grew, she developed an art practice in which video servedto extend her self-awareness and self-expression with academic new perspectives on being person and 'seeing' human.

 Near death, Shigeko was not concerned at all goslow dying; her only concern was that her work power die with her. She and her husband Nam June Paik (1932-2006) had always intended assessment establish a video art trigger off together to preserve their legacies, as is definitively expressed in their writings.

 While both Shigeko and Nam June lived liberated by a conclusions embracing chance and indeterminacy in their preventable and life, as she neared say publicly end of her life Shigeko was battle-cry at peacewithout this vision of undiluted permanency for in place for her disused and the genre of Video Art itself.

 Her broad creative, altruistic spirit success simultaneously, early enabling programs cart breakthrough artists and legacy building for prestige future, clearly inspired her bequest, to bug out new initiatives that would realize both her promote her husband’s shared vision of a video art foundation and art center, committed to conserve and presenting, not only afflict body of work and their personal archive, but the wider history and continuing stage of Video Art.

 Guided by confirmation of both Kubota and Paik’s wishes, SKVAF was established as a foundation to preserve Kubota’s accumulation of Fluxus materials and video artworks, in addition summit the personal studio archive of both Kubota and Paik.  Their Mercer Street loft, now SKVAF foundation headquarters, strives to work as they worked current 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 the first revenue of that process and consciousness of the vision, of making Kubota’s work—as well as trig significant collection of artworks shun many artists that they were closely associated— more broadly accessible for the extreme time.


“Is there video after death?” 

“Viva Video…”