User:Pomagranny/The More The Better/Poppyprint Peer Review

*Please make sure you are adding proper links and using in-line citations!

*Please check grammar!

= The More, the Better = The More, The Better (italicize title - I am only going to say it once here but you should italicize all titles in the following paragraphs), also known by it's (GRAMMAR - YOU DO NOT USE APOSTROPHE FOR POSSESSIVES -> its) romanized name d,  (name, delete comma or how about title instead of name?) Dadaikseon (다다익선 - in case you want the Korean title) is a remarkable (avoid adjectives like these for neutrality. Wikipedia is going to cut these) video sculpture designed by Nam June Paik specifically for the 1988 Seoul Olympics (was it "for" the Seoul Olympics? I am wondering if for the National Museum of Modern and Contemporary Art would be more accurate - you can explain the Seoul Olympics as a backdrop). The installation takes the form of an 8.5-meter (60.7-foot) tower with a diameter of 11 meters, adorned entirely with a striking arrangement of 1,003 cathode ray tube (CRT) television monitors. This  captivating  artwork can be found on display at the National Museum of Modern and Contemporary Art in Gwacheon, Gyeonggi Province, South Korea. (<-if you say in the earlier sentence that this was commissioned for MMCA, part of this sentence is not necessary or could be modified - for example, you could simply say that the work still stands in the rotunda of the National Museum of Modern and Contemporary Art.)

== Background - I don't think this intro to Paik is necessary here, because the information is already available in the Nam June Paik article (which will be linked here - you should also make sure that this page is added and linked to the initial Paik article!) == Nam June Paik, born in 1932 in Seoul, Korea, was a visionary artist who explored the relationship between technology, media, and art. He was fascinated by the possibilities offered by television, video, and other electronic mediums and sought to incorporate them into his artistic practice. Paik's multidisciplinary approach combined elements of performance, music, sculpture, and installation to create immersive and thought-provoking experiences.

Creation
'''*This section could use some reorganization. Start with the background information about the Olympics, the military government's motivation, and the construction of the MMCA.'''

"The More the Better" was commissioned for the 1988 Seoul Olympics, a momentous occasion for Nam June Paik as it marked the first time the Games were hosted in his home country. This large-scale installation took center stage in the Olympic Park in Seoul (incorrect - MMCA is NOT in Olympic Park, and it's not even in Seoul??!!), South Korea, showcasing Paik's artistic vision.

The artwork itself was an impressive sight—a monumental tower constructed from 1,003 television sets stacked in a tiered cake like manner (repetitive, and delete expressions like "impressive sight"). To emphasize the diversity and rapid evolution of television technology, Paik deliberately incorporated Samsung televisions of various sizes and ages. The resulting chaotic arrangement of the TVs served as a powerful symbol, representing the overwhelming and excessive nature of modern media consumption. (<-this is a great description of the work, but I think it could be moved down - start with the background information about the Olympics instead)

During this period, Paik's close association with Samsung held great significance. Despite being relatively unknown as an electronic brand outside of Korea at the time, Samsung showed unwavering support for Paik, with the condition that he exclusively used Samsung TV monitors. This partnership established a symbiotic relationship, as both Paik and Samsung worked together to promote a modernized and globally recognized image of Korea.

The ambitious backdrop of the 1988 Seoul Olympics, coupled with the support of the government and corporations, provided Paik with the perfect opportunity to fully realize his artistic endeavors. He received almost limitless support and was frequently commissioned to create projects for international events hosted by Korea, such as the 1986 Asian Games, the Summer Olympics of 1988, and the Daejeon EXPO in 1993.

'''[Move this section to the top. And you need to be clear about the dates - the olympics were held in 1988; make it clear that 1986 is the construction date for the museum. It would be great if you could also talk about WHY MMCA was founded by the government] The new MMCA building was erected (but wasn't the museum also established for the first time? "the new building was erected" makes it sound like there was a museum, but they just built a new building)'''  in Gwacheon in 1986 during the build-up to the Seoul Olympics. Furthermore, during the build-up to the Seoul Olympics in 1986, the new MMCA building was erected in Gwacheon.

'''[ I moved this section up since it discusses the MMCA. Think carefully about how you organize and present your information. Go from big to small, for instance - talk about the museum, then Paik's work.]''' Within the new MMCA building, a series of exhibitions took place between 1987 and 1988, aiming to showcase international trends in modern and contemporary art. These exhibitions included the Contemporary Art Festival '87, the Special Exhibition of International Contemporary Painting, and the Exhibition of World Invitational Open Air Sculpture, further cementing the museum's commitment to displaying the diversity and evolution of art.

[It would be great to have more background info - were you able to find any English sources that talk about how the ramp resembled the Guggenheim and they needed a monumental installation to distract from the resemblance?)

As part of this development, Nam June Paik contributed (the government commissioned it, right?) a new work—a video tower titled Dadaikseon (The More, the Better; 1988)—which was installed on the main ramp of the building.

Recent News - LINK!
"The More the Better" underwent a temporary shutdown due to safety concerns, following an assessment conducted by the Korea Electrical Safety Corporation in March 2018. The assessment revealed fire risks, necessitating a comprehensive restoration project overseen by Kwon In-chul, the installation's curator.

During the restoration process, each cathode ray tube (CRT) monitor on the tower underwent meticulous inspection. Among them, 737 damaged CRT monitors were repaired using secondhand monitors and components, ensuring their proper functionality. An additional 266 monitors were deemed beyond repair and were replaced with LCD screens, carefully designed to maintain the outward appearance of CRT monitors. These LCD screens, mainly 6- and 10-inch in size, now occupy the upper section of the tower. Furthermore, the cooling systems of the monitors were addressed to enhance their performance and longevity. To ensure the successful restoration, a rigorous six-month test run took place from January to July of that year.

In addition to addressing the safety concerns, the restoration project encompassed the restoration of all eight videos from the original installation. The National Museum of Modern and Contemporary Art, Korea (MMCA), retrieved and restored these videos from their archive, presenting them as part of the special exhibition titled "Merry Mix: The More the Better." This exhibition not only showcases the restored installation but also features interviews and archival materials that provide invaluable insights into the rich history of this legendary artwork.

As part of the comprehensive restoration plan announced in September 2019, the 18.5-meter-tall tower underwent the final stage, which included a six-month test run commencing in January and concluding on July 8. The tower, initially created in 1988, had experienced technical problems and required frequent repairs since 2003. The three-year restoration plan aimed to preserve the work's prototype, ensuring its long-term stability and accessibility for future audiences.

'''Where is the most recent news about it reopening?! It's running now!'''

Legacy and Influence
"The More the Better" was a groundbreaking work that pushed the boundaries of traditional art forms and introduced new possibilities for artistic expression. Paik's innovative use of television and interactive technology paved the way for future generations of artists working with video and new media. (<-I think this statement, especially the first sentence, would be flagged because it does not sound neutral enough)

Paik's return to South Korea sent shockwaves through the local art scene. While the general public hailed him as a brilliant and eccentric artist representing the future of Korea, some artists remained uncertain about his radical yet apolitical view of art. At that time, South Korea's cultural expressions faced heavy censorship under the military regime, which imprisoned intellectuals who dared to challenge its legitimacy. The dominant artistic movement, known as Minjung Art, was politically charged, emphasizing socialist realism, and criticizing Western modern art as imperialistic and bourgeois. In contrast, Paik's "formalist video" presented an aesthetic of moderation that transcended the boundaries of ethics and society. Paik's innovative use of television and interactive technology paved the way for future generations of artists working with video and new media. (<-I moved this from the "Creation" section, and added the sentence from the previous paragraph)

The installation also marked a significant moment for South Korea, as it showcased the country's cultural and artistic renaissance during the Seoul Olympics. "The More, The Better" became an iconic symbol of the event and remains an important part of the nation's artistic heritage.

Lead
"The More, The Better (다다익선 - in case you want to include the Korean title)" is an renowned installation by the Korean-American artist Nam June Paik, created in 1988. (include location)  This artwork  The installation consists of a tower-like structure composed of 1,003 vintage (this might be due to my ignorance but what do you mean by vintage? They weren't vintage in 1988, were they?) television sets stacked in a pyramidal formation, with a small Buddha statue placed at the top. The installation has become one of Paik's most iconic works and is considered a seminal piece of video art.

Article body
"The More, The Better" is a commentary on the role of television and mass media in contemporary society. The installation overwhelms the viewer with an intense visual and auditory experience, as each television set displays different images and sounds. Paik aimed to create a sensory overload that would evoke a sense of the excess and saturation of information in the modern world.

The installation's title is a reference to the saying "The more, the merrier," suggesting a celebration of abundance and excess (huh -really? Where are you getting this from? 다다익선 is also a Korean term...maybe he was referring to both?). However, Paik's use of vintage (?) television sets also alludes to the transience and obsolescence of technology, highlighting the impermanence of the information transmitted through mass media.

Legacy and Influence
"The More, The Better" has been exhibited in various locations around the world (NO IT HAS NOT - YOU CANNOT MOVE THAT TOWER. I THINK YOU ARE CONFUSING IT WITH ANOTHER WORK, OR THE VIDEO ART THAT PLAYED IN THE 1003 TELEVISIONS), including the National Museum of Modern and Contemporary Art in Korea, the Whitney Museum of American Art in New York, and the Stedelijk Museum in Amsterdam. It has also inspired numerous artists working in the field of video installation, influencing the development of media art and its relationship to technology and society.

General info

 * Whose work are you reviewing?

(provide username)


 * Link to draft you're reviewing
 * Link to the current version of the article (if it exists)
 * Link to the current version of the article (if it exists)

Evaluate the drafted changes
(Compose a detailed peer review here, considering each of the key aspects listed above if it is relevant. Consider the guiding questions, and check out the examples of what feedback looks like.)