BOOKS
2017  Paik’s Virtual Archive: Time, Change, and Materiality in Media Art. Oakland: University of California Press, forthcoming February 2017 Books Monographs

Hölling_Paik's Virtual Archive CoverPaik’s Virtual Archive contemplates the identity of multimedia artworks by reconsidering the role of conservation in our understanding of what the artwork is and how it functions within and beyond a specific historical moment. Using examples of works by Nam June Paik (1932–2006), the hugely influential Korean American artist who is considered the progenitor of video art, Hölling explores the relation between the artworks’ concept and material, theories of musical performance and performativity, and the Bergsonian concept of duration—and the parts these elements play in the conceptualization of multimedia artworks. In this book, Hölling combines her astute assessment of artistic technologies with ideas from art theory, philosophy, and aesthetics to probe questions related to materials and materiality not just in Paik’s work but in contemporary art in general. Ultimately, she proposes that the archive—the physical and virtual realm that encompasses all that is known about an artwork—is the foundation for the identity and continuity of every artwork.

REVIEW QUOTES

Christiane Paul, Adjunct Curator of Digital Art, Whitney Museum, and Associate Professor, School of Media Studies, The New School

“This book makes an invaluable contribution to the field of preservation and media art history by using the works of Nam June Paik—one of the pioneers and most important figures of media art—to philosophically and practically rethink approaches to media art conservation. Hölling reconsiders concepts of the conservation object in light of the emergence of digital media art, which has reframed our understanding of (im)materialities, time, change, and the archive. In highly original ways, the book addresses how transformations of multimedia artworks over time affect their behavior, their presentation and the ways in which audiences engage with them. Hölling brings unique expertise to the subject since she has not only thoroughly researched the history of Paik’s oeuvre but also actively participated in the conservation and curation of his work.”

Beryl Graham, Professor of New Media Art, University of Sunderland

“Starting with the wincing crash to the ground of one of Paik’s ‘proto–new media’ works, this book meticulously picks up the pieces, and wrestles the conceptual and the material challenges back into shape. A spirited and useful analysis for ensuring a lively future for media art. Decidedly un-dusty.”

Martha Buskirk, Professor of Art History and Criticism, Montserrat College of Art

“Developing strategies to preserve and ensure access to electronically encoded information is one of the major challenges of our era—in art, and in the culture at large. Hanna Hölling’s wide-ranging study is essential reading for its insights regarding the ongoing interpretation and updating necessary to address the impact of technological change on Nam June Paik’s work and for what this process tells us about the inherent fragility of all aspects of the modern archive.”

Peter Weibel, Chairman and CEO ZKM Centre for Art and Media, Karlsruhe, Germany, and Professor, University of Applied Arts Vienna

“The restoration and the conversation of media art is one of the greatest challenges for the future of our culture. Hanna B. Hölling’s compelling book is one of the most important contributions to this subject.”

Wulf Herzogenrath, art historian and curator

“It is wonderful to see that a new generation of media and art historians offer a fresh view on this global artist. Hanna Hölling is one of the leading scholars to help us understand Nam June Paik’s work now in the digital age.”

Rafael Lozano-Hemmer, media artist

“Time is slowly erasing the work of entire generations of media artists from our potential art history. The loss is irreparable and urgent action is needed. Fortunately, Hanna Hölling’s excellent research will guide us through this darkness!”

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Order the book ISBN:9780520288904

2015  Revisions—Zen for Film. New York and Chicago: Bard Graduate Center, The University of Chicago Press, 2015

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How do works of art endure over time in the face of aging materials and changing interpretations of their meaning? How do decay, technological obsolescence, and the blending of old and new media affect what an artwork is and can become? And how can changeable artworks encourage us to rethink our assumptions of art as fixed and static? Revisions is a unique exploration of all of these questions.

This book, which accompanied an exhibition at the Bard Graduate Center, examines Zen for Film, also known as Fluxfilm no. 1, one of the most evocative works by Korean-American artist Nam June Paik. Created during the early 1960s, this piece consists of a several-minutes-long screening of blank film; as the film ages and wears in the projector, the viewer is confronted with a constantly evolving work. Because of this mutability, the project undermines any assumption that art can be subject to a single interpretation.

By focusing on a single artwork and unfolding the inspirations, transitions, and residues that have occurred in the course of that work’s existence, Revisions offers an in-depth look at how materiality enhances visual knowledge. A fresh perspective on a piece with a rich history of display, this catalog invites interdisciplinary dialogue and asks precisely what—and when—an artwork might be.

REVIEW QUOTES

Matthew Jesse Jackson, University of Chicago

“In Revisions—Zen for Film, Hanna B. Hölling offers many original observations about modern and contemporary art. Innovative in its conception and execution, Revisions investigates a critical moment in recent art history—namely, the appearance of ‘new media’ and its entry into, and historicization by, the art world and academia.”

Sarah Cook, coauthor of Rethinking Curating and cofounder of CRUMB

Revisions—Zen for Film is refreshing and thought provoking. It presents a new take on both exhibition histories and Paik studies through its close reading of a single work from many different informed perspectives, sparking unexpected associations. It skillfully brings together an art historical approach with that of a conservator and a curator, contributing a new way of thinking about conservation, preservation, and curatorial practice.”

Jeffrey Weiss, senior curator, the Guggenheim Museum New York and an adjunct professor, New York University

“Yet it is Holling’s examination, in the catalogue, of the close mutual dependency of historical, conceptual, practical, and material concerns that begs our attentionThese issues are all implicated in the installation, which challenges any notion of a monolithic identity of Zen for Film; they are unpacked in detail in the catalogue, where Holling is at pains to show that considerations regarding the logistics of making and mounting the work must not be separated from the projecťs governing formal and historical themes.” Artforum, March 2016.

Hannah Higgins, professor of Art History and University Scholar at University of Illinois Chicago

“Hölling’s book offers a wild ride through a whodunit of sorts, as she describes in vivid detail her practical . . . efforts to exhibit and understand a single artwork for an exhibition at BGC gallery in the fall of 2015. . . . The challenge this opening-up of the object and its authorial framework implies for conservationists is immense.” Critical Inquiry, May 2016

Judit Bodor, Aberystwyth University

“Hölling’s non-linear, circular discourse aesthetically parallels how Zen for Film engages with duration, systems, process, media and time. The book’s attention to Zen for Film’s afterlife seems an important addition to existing historical analysis of the artwork, as it maps out a critical territory on which complex issues of conservation and curation of both ‘old’ and ‘new’ media unfold and intersect to develop new methodologies, sensibilities and strategies. It is thus a significant contribution towards a growing body of discourse, practice and research focusing on the afterlives of ‘new’ media artworks, and should be read by both conservators and curators engaging with such issues in the context of museums and galleries.” Journal for Curatorial Studies / Intellect, June 2016

Lindsey Reno, University of New Orleans, Earl K. Long Library

“The volume is clearly and densely written. … Provides rich analysis and insights.” Art Libraries Society of North America, May 2016

Martin Koerber, professor at the University of Applied Sciences Berlin and head of the Department of Film at the German Cinematheque, Film Museum, Berlin

“Hanna Hölling zeigt, wie wegweisend Zen for Film für ein tieferes Verständnis von Medienkunst sein kann, oder für ein neues Kunstverständnis überhaupt. … Ich habe lange keine so kluge Abhandlung zu einem Medienkunstwerk gelesen, die ganz eng und genau beobachtend bei der Sache bleibt und aus dem Werk selbst heraus ihre kritische Haltung zum musealen Umgang damit entwickelt.”  Journal of the German Conservation Association, March 2017

Read Artforum review
Read Critical Inquiry review
Read Journal for Curatorial Studies / Intellect review
Read Art Libraries Society of North America review
Read The Art Blog Review
Read Journal of the German Conservation Association review (access via Journal website, available on this website in October 2017)
Read the University of Chicago Press preview

Order the book ISBN: 9781941792049

2013  Re:Paik: On Time, Changeability and Identity in the Conservation of Nam June Paik’s Multimedia Installations. ’s-Hertogenbosch: Uitgeverij BOXPress, 2013

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This doctoral dissertation completed at the University of Amsterdam (September 2013) poses questions that consider the constitution of conservation objects in relation to our understanding of what the artwork is. By tracing the changeability of Nam June Paik’s multimedia installations, Re:Paik problematizes the relation of their identity to the processes of transformation they undergo. It reconsiders the materiality of complex media installations with reference to their conceptual dimension and expands on their link to other ontological forms of art, such as musical performance. Because changeability may only be observed in connection with time, in my thesis, I propose to understand conservation as a process being inherently about time and involving ways of understanding time. But time seen from the perspective of media installation seems to reject the chronological matrix of conventional temporality expressed in sequential and chronological dimensions. I test the applicability of the Bergsonian concept of duration for the conceptualisation of multimedia works of art and, subsequently, argue that time governs not only objects but also their archive. It is on the basis of the archive–the final destination and the beginning of these artworks–that their identity and continuity is created.