Magnet TV (1965) is an early example of Nam June Paik’s“Prepared Televisions,” works in which he altered the television’s image or its physical casing. This work consists of a seventeen-inch, black and white set with an industrial-size magnet resting on top of it. The magnetic field interferes with the television’s reception of electronic signals, distorting the picture into an abstract form that changes when the magnet is moved.
Paik’s radical action undermines the seemingly inviolable power of broadcast television by transforming the TV set into sculpture, one whose moving image is created by chance, and can be manipulated at will. Through his alteration of the television image, Paik challenged the notion of the art object as a self-contained entity and established a process of instant feedback, whereby the viewer’s actions have a direct effect on the form and meaning of the work.
Photographed in The Whitney Museum of American Art in NYC.
Unlike many 20th-century fashion designers, Norman Norell rarely sought inspiration from non-western or exotic cultures. Norell’sObi dresses (circa 1965) were a rare exception. Named after the wide belt used to secure and ornament a Japanese Kimono, the wrap-wtyle Obi Dresses were constructed with a built-in panel of fabric that encased the upper torso using a hook and eye closure.This interior garment allowed the outer wrap layer to glide smoothly over the body.
Photographed as Part of the Exhibit Norell: Dean of American Fashion, at the Museum at FIT.
Yves Saint Laurent’s fall 1965 collection was inspired by the paintings of Piet Mondrian. While it became one of Saint Laurent’s most famous collections, other designers had introduced similar designs before him. The Montreal Gazette claimed that color-blocked dresses by Michele Roiser had inspired Saint Laurent to “add a few black lines” to his own creations.
YSL dress seen here with a color block design by Lousi Feraud (circa 1967) on the left.
If you’ve already been to the absolutely phenomenal Rolling Stones ‘ career retrospective, Exhibitionism (which, go!), you may recognize this drumkit belonging to drummer Charlie Watts, which is on display in the recording gallery. This 1965, 4-piece Ludwig kit in a Sky Blue Pearl shell finish with a keystone badge (indicating a drum made in the 1960s), was used from 1965 -to mid-1968 by Watts on most of the band’s studio recordings and live performances.
Side View Mirror (1965) by Allan D’Arcangelo (1930 – 1998) consist of a color screenprint printed on Plexiglas, set into round chrome side-view mirror, and mounted on a black Plexiglas base.
As a readymade /sculpture, Side View Mirror is part of a multiple artist collaboration, Seven Objects in a Box (Published 1965-66), which consisted of a stenciled wooden box, containing one artwork each by artists Tom Wesselmann, Andy Warhol, Claes Oldenburg, Roy Lichtenstein, Jim Dine, George Segal, and D’Arcangelo (see photo below). Part of the permanent collection at MOMA, all pieces are displayed as stand-alone works.