Letting the camera roll and observing that studio for hours on multiple screens is wryly entertaining. Holzer counts herself among his admirers. More information is also available about the and the. This retrospective is extremely well curated, with clear demarcations of principal themes that have preoccupied the artist throughout his career, with the reflection on the role of the artist as one of his central subjects. Collection Robin Wright and Ian Reeves. And clearly there are some things that Nauman regards at least semi-seriously. An exhibition space rather than a collecting institution, it devotes its energy and resources to displaying the most experimental art in the world.
Technology helps Nauman amplify the effect of his work and confirms his critique of vision as the sense not to be trusted. Photo: Martin Seck During the 1960s Nauman played much with the title of his works, so the majority of them were very simple and indicative such as the following work, a sculpture called Wax Impressions of the Knees of Five Famous Artists. Nauman the rebel, at 76, is now a classic. Philip Johnson Glass House Collection, National Trust for Historic Preservation. La ventana al mundo del arte.
Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel. I found myself feeling completely differently about many pieces after closer examination than I had on just a cursory glance. Employing a tremendous range of materials and working methods, he reveals how mutable experiences of time, space, movement, and language provide an unstable foundation for understanding our place in the world. How Do I Whitelist Observer? In this work, I can choose to accept the key, and if I do, I will become trapped. Digital image © 2018 The Museum of Modern Art, New York.
A narrative exhibition history traces his reception, and features a number of rare or previously unpublished images. Generous funding is provided by The Hayden Family Foundation, Sully Bonnelly and Robert R. In From Hand to Mouth 1967 , for example, we see a wax impression of his mouth, shoulder and extended arm, with the rest of the body absent. In the next room, we see Going Around the Corner Piece 1970 , in which the cameras are installed in such a way that we can watch our image on a monitor shown at a strange angle, as if we were someone else, our body digitised, doubled, reduced in size and removed in space, estranged from breath and life. In 2009 he represented the United States at the Venice Biennale, where he won the Golden Lion.
Nauman is also a man who rejects the idea of having an effect on others. Photo: Andy Romer Photography, courtesy of the Glass House, a site of the National Trust for Historic Preservation. Schaulager and The Museum of Modern Art — New York, present the first comprehensive retrospective of the work of Bruce Nauman b. The characteristics of the two spaces have shaped the curatorial approach to each. In the Audio-Video Underground Chamber 1972-74 , the artist installed a camera in front of an empty concrete chamber, where there is no movement or sound. Throughout his 50-year career, he has explored how mutable experiences of time, space, sound, movement and language provide an insecure foundation for our understanding of our place in the world.
Museum Boijmans van Beuningen, Rotterdam. Bruce Nauman Corridor Installation Nick Wilder Installation , 1970. Photo: Dorothy Zeidman, courtesy the artist and Sperone Westwater, New York. He uses lies forthrightly to introduce an unsettling elusiveness, leaving things open to multiple, often conflicted understandings. Close relatives of disappearance also appear in many forms. Bruce Nauman — White Anger, Red Danger, Yellow Peril, Black Death.
Double Steel Cage Piece, 1974. One Hundred Live and Die, 1984. That spot on earth is unchanging, and to imagine oneself there premature raises all sorts of questions about the nature of death and the infinity that it is. Los Angeles County Museum of Art, Modern and Contemporary Art Council Fund. Nuanced ethical questions are often masked as stark dichotomies, and perceptual tricks unsettle the ways we see ourselves. Organized by Laurenz Foundation, Schaulager Basel and The Museum of Modern Art, New York Bruce Nauman: Disappearing Acts Schaulager Basel 17.
He is more effective in conveying his meaning because of this sparseness. Model for Trench and Four Buried Passages, 1977. Edited with text by Eva Ehninger. He says exactly what he needs to and nothing more, and often lets his materials do much of the talking. Digital image © 2018 The Museum of Modern Art, New York. The exhibition is made possible by Laurenz Foundation, Schaulager Basel.