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Bruce Nauman

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Template:Short description Template:For Template:Infobox artist Bruce Nauman (born December 6, 1941) is an American artist. His practice spans a broad range of media including sculpture, photography, neon, video, drawing, printmaking, and performance. Nauman lives near Galisteo, New Mexico.

Life and work

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Nauman was born in Fort Wayne, Indiana, but his father's work as an engineer for General Electric meant that the family moved often.<ref name="Complex Cowboy: Bruce Nauman">Andrew Solomon (March 05, 1995), Complex Cowboy: Bruce Nauman The New York Times.</ref> He studied mathematics and physics at the University of Wisconsin–Madison (1960–64), and art with William T. Wiley and Robert Arneson at the University of California, Davis (1965–6). In 1964, he gave up painting to dedicate himself to sculpture, performance and cinema collaborations with William Allan and Robert Nelson. He worked as an assistant to Wayne Thiebaud. Upon graduation (MFA, 1966), he taught at the San Francisco Art Institute from 1966 to 1968, and at the University of California at Irvine in 1970. In 1968, he met the singer and performance artist Meredith Monk and signed with the dealer Leo Castelli. Nauman moved from Northern California to Pasadena in 1969. In 1979, Nauman further moved to Pecos, New Mexico. In 1989, he established a home and studio in Galisteo, New Mexico, where he continued to work and live with his second wife, the painter Susan Rothenberg, until her death in 2020. Nauman has two children, Erik and Zoë, with his first wife, Judy Govan, and he also has two grandchildren.<ref>Tomkins, Calvin (May 25, 2009). "Western Disturbances: Bruce Nauman's Singular Influence." The New Yorker. newyorker.com. Retrieved 2019-02-16.</ref>

Confronted with "What to do?" in his studio soon after graduating, Nauman had the simple but profound realization that “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.”<ref>Art:21. Bruce Nauman, PBS</ref> Nauman set up a studio in a former grocery shop in the Mission district of San Francisco and then in a sublet from his university tutor in Mill Valley. These two locations provided the setting for a series of performed actions which he captured in real time, on a fixed camera, over the 10-minute duration of a 16mm film reel.<ref>Bruce Nauman, 23 May – 8 July 2012 White Cube, London</ref> Between 1966 and 1970, he made several videos, in which he used his body to explore the potentials of art and the role of the artist, and to investigate psychological states and behavioural codes.

Much of his work is characterized by an interest in language, often manifesting itself as visual puns. He has an interest in setting the metaphoric and descriptive functions of language against each other, which he also derives from the philosophy of Ludwig Wittgenstein and his concept of the language-game.<ref>Template:Cite web</ref> For example, the neon Run From Fear – Fun From Rear, or the photograph Bound To Fail, which literalizes the title phrase and shows the artist's arms tied behind his back. He seems to be fascinated by the nature of communication and language's inherent problems, as well as the role of the artist as supposed communicator and manipulator of visual symbols.

In the 1960s, Nauman began to exhibit his work at Nicholas Wilder's gallery in Los Angeles and in New York at Leo Castelli in 1968 along with early solo shows at the Los Angeles County Museum of Art and the Whitney Museum in 1972.

Nauman's use of neon as a medium recurs in his works over the decades. He uses neon to make allusions to the numinous connotations of light, similar to Mario Merz, who used neon to bring new life to assemblages of mundane objects. Neon also connotes the public atmosphere by the means of advertising, and in his later works he uses it ironically with private, erotic imagery as seen in his Hanged Man (1985).<ref>Template:Cite book</ref>

File:Skulptur Invalidenstr 50 (Mitte) Double Cage Piece&Bruce Nauman&1974.jpg
Skulptur Invalidenstr 50 (Mitte) Double Cage Piece, Bruce Nauman, 1974

His Self Portrait as a Fountain (1966) shows the artist spouting a stream of water from his mouth. At the end of the 1960s, Nauman began constructing claustrophobic and enclosed corridors and rooms that could be entered by visitors and which evoked the experience of being locked in and of being abandoned. A series of works inspired by one of the artist's dreams was brought together under the title of Dream Passage and created in 1983, 1984, and 1988.<ref>Bruce Nauman. Dream Passage, 28 May – 10 October 2010 Template:Webarchive Hamburger Bahnhof, Berlin.</ref> In his installation Changing Light Corridor with Rooms (1971), a long corridor is shrouded in darkness, whilst two rooms on either side are illuminated by bulbs that are timed to flash at different rates.<ref>Bruce Nauman, Changing Light Corridor with Rooms (1971) Tate Collection.</ref>

Since the mid-1980s, primarily working with sculpture and video, Nauman developed disturbing psychological and physical themes incorporating images of animal and human body parts, depicting sadistic allusions to games and torture together with themes of surveillance. In 1988, after a hiatus of nearly two decades focused on time-based media, he resumed his work with cast objects.<ref name="gagosian.com">Bruce Nauman: Animal Pyramid, January 29 - February 21, 2015 Gagosian Gallery, New York.</ref>

Selected works

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File:Center of the Universe, University of New Mexico.jpg
Center of the Universe at the University of New Mexico

Some of Nauman's best-known works include:

  • A Rose Has No Teeth (1966) — Lead, 7.5 x 8 x 2.25 in.
  • Eleven Color Photographs (1966-1967/1970) — Portfolio of eleven color photographs, various sizes, all approx. 19.75 x 23 in. edition of 8 Published by Leo Castelli Gallery, New York
  • Art Make-Up (1967) — video in which Nauman slowly covers his face and upper torso with white, then pink, then green, then black makeup, until by the end he looks like a negative image<ref name="Complex Cowboy: Bruce Nauman"/> Initially the films were intended to be projected simultaneously on four walls of a room. Although this form of installation was never realized for this piece, Nauman employed the method for subsequent film and video installations.<ref>Bruce Nauman, Art Make-Up (1967) Electronic Arts Intermix, New York.</ref>
  • The True Artist Helps the World by Revealing Mystic Truths (1967)<ref name="Philadelphia Museum of Art">Template:Cite web</ref> – a spiraling neon sign with this slogan.
  • Flesh to White to Black to Flesh (1968) 51 minutes b&w, sound. Nauman puts on white makeup, then black makeup, then returns to his ordinary skin color.<ref name="New American Library"/><ref>Template:Cite web</ref>
  • Burning Small Fires (1969) — artist's book for which Nauman burned Ed Ruscha's book Various Small Fires and Milk (1964), photographed it, and edited a book of his own.<ref>Colin Westerbeck (February 11, 2007), Burning Small Fires: Artist book by Bruce Nauman (1968) Los Angeles Times.</ref>
  • Wall-Floor Positions (1969) — Videotape, black and white, sound, 60 mins. to be repeated continuously.
  • Pacing Upside Down(1969) 60 minutes b&w. With his arms held over his head, hands crossed, Nauman is moving jerkily around a perimeter defined by a square drawn on the studio floor, filmed by a fixed camera, placed upside down.<ref name="New American Library">Template:Cite book</ref><ref>Template:Cite web</ref>
  • Audio Video Piece for London, Ontario (1969–70) - Nauman uses a closed-circuit television, a camera, and an audio recording to confuse sensory perception as the television broadcasts images and rhythmic noises of an adjoining room.<ref name="Bruce Nauman 1990">Bruce Nauman: Selected Works from 1967 to 1990, May 21 - August 1, 2015 Gagosian Gallery, Paris.</ref>
  • LA AIR (1970)<ref name="LAAIR on ubuweb">Template:Cite web</ref> – A soft-cover artist's book, featuring only 10 color illustrations [photographs] of the polluted Los Angeles skyline. It complements and extends the sky-blue pages of Nauman's earlier book CLEA RSKY (1968–69).<ref>Elements and Unknowns, September 4 – November 23, 2008 Museum of Modern Art, New York.</ref> No text.
  • Henry Moore bound to fail, back view (1967–1970)<ref name="Henry Moor bound to fail- on artnet">Template:Cite web</ref> – cast wax relief of a man's back with arms tied by ropes.<ref>Ken Johnson (November 15, 2002), Bruce Nauman The New York Times.</ref> In 2001, this work sold for $9 million at auction. This is one of the highest prices paid for Nauman's work.
  • Please/Pay/Attention/Please (1973) - Collage and letraset, 27.5 x 27.5 in.
  • Elke allowing the floor to rise up over her face (1973) 39 minutes color sound. She lies on her back, turns over, moves around as the video makes her seem to sink below the floor.<ref name="New American Library"/><ref>Template:Cite web</ref>
  • Tony Sinking into the Floor, Face Up, and Face Down (1973) 60 minutes. Tony lies there as if dead, then slowly wakes up, as the editing makes him seem to sink into the floor.<ref name="New American Library"/><ref>Template:Cite web</ref>
  • Center of the Universe (1988) - "unadorned concrete tunnels extending outward from a plaque in the middle and one reaching up toward the blue New Mexico sky."<ref>Template:Cite news</ref> At the University of New Mexico, Albuquerque.
  • Good Boy Bad Boy (1985) — Two video monitors, two videotape players, two videotapes (color, sound). dimensions variable.
  • Clown Torture (1987)<ref name="Clown torture on vimeo">Template:Cite web</ref> – in four separate stacked video screens, a clown screaming "No" repeatedly, a clown telling an annoying children's joke, a clown balancing goldfish bowls, and a clown sitting on a public toilet.
  • Vices and Virtues (1988)<ref name="Vices and Virtues on PBS">Template:Cite web</ref> – Atop the Charles Lee Powell Structural Systems Laboratory on the campus of the University of California, San Diego as part of the Stuart Collection of public art: neon signs seven feet tall, alternating the seven vices and seven virtues: FAITH/LUST, HOPE/ENVY, CHARITY/SLOTH, PRUDENCE/PRIDE, JUSTICE/AVARICE, TEMPERANCE/GLUTTONY, and FORTITUDE/ANGER.<ref>Bruce Nauman, Vices and Virtues (1988) University of California, San Diego.</ref>
  • Learned Helplessness in Rats (Rock and Roll Drummer) (1988)<ref name="Learned Helplessness in Rats (Rock and Roll Drummer) in MoMA">Template:Cite web</ref> – Plexiglass maze, closed circuit video camera, video projector, two videotape players, two monitors, and two videotapes. Collection of MOMA.
  • Animal Pyramid (1989) – a stack of seventeen taxidermy molds rising to twelve feet.<ref name="Bruce Nauman 1990"/>
  • World Peace (1996) – five projectors or video players displaying four women and a man each speaking simultaneous monologues about world peace and endlessly rehearsing the words 'We'll talk – They'll listen / You'll talk – We'll listen / They'll talk – You'll listen'.<ref name="Peace- in Sperone Westwater">Template:Cite web</ref><ref>The Unilever Series: Bruce Nauman - Raw Materials, 12 October 2004 – 2 May 2005 Tate Modern, London</ref>
  • Stadium Piece (1998–99) – outdoor M-shaped staircase, part of the Western Washington University Public Sculpture Collection
  • Setting a Good Corner (Allegory & Metaphor) (1999)<ref name="Setting a good corner- youtube video">Template:Cite webTemplate:Cbignore</ref> – looping video of the artist setting a corner fencepost.
  • Mapping the Studio I (Fat Chance John Cage) (2001)<ref name="Mapping the Studio 1">Template:Cite web</ref> – multiple projections record nocturnal activity by the artist's cat and various mice in his studio over the summer of 2000.
  • Raw Materials (2004)<ref name=Tate>Template:Cite web</ref> – sound installation displayed in the Turbine Hall of Tate Modern,<ref>Adrian Searle (October 12, 2004), Inside the mind of Bruce Nauman The Guardian.</ref> bringing together 21 audio pieces made over a period of 40 years.<ref>Richard Dorment (October 13, 2004), Sounds to make the mind race The Daily Telegraph.</ref>
  • One Hundred Fish Fountain (2005) comprises hollow bronze fish, cast from catfish, bass, whitefish and other species, suspended by wires from the ceiling at different heights, as if swimming in deep water. Below them is a broad, shallow basin, cobbled together from rubber sheeting, which measures 25 feet by 28 feet, from which water is pumped up to each fish through a hose connected to its belly.<ref>Ken Johnson (August 9, 2012), Bruce Nauman: One Hundred Fish Fountain The New York Times.</ref> The environmentally scaled sculpture all but fills the room, allowing just a narrow track for the viewer to edge around the perimeter, in much the same way as Nauman's early corridor works first invited then restricted movement.<ref>Bruce Nauman: One Hundred Fish Fountain, July 30 - August 24, 2012 Gagosian Gallery, New York.</ref>
  • Untitled "Leave the Land Alone" (1969/2009)<ref name=Untitled>Template:Cite web</ref> – premiered as a public skywriting project over Pasadena for the Armory Center for the Arts in September 2009, initiated by curator Andrew Berardini. The plane circled around and rewrote the brief sentence "Leave the Land Alone" several times. This work connects with LAAIR as well as lambastes the land art movement<ref>Template:Cite web</ref>
  • Days/Giorni (2009)<ref name="Days in MoMa">Template:Cite web</ref> – two rows of wafer-thin white speakers that played 14 recordings of seven people chanting the days of the week, either in English (“Days”) or Italian (“Giorni”).<ref name="Listen: Can You Hear the Space">Roberta Smith (December 17, 2009), Listen: Can You Hear the Space? The New York Times.</ref> Purchased in a 50–50 deal by the Museum of Modern Art in New York and Maja Oeri, a MoMA trustee whose Emanuel Hoffmann Foundation is at the Schaulager in Basel, Switzerland.<ref name="nytimes.com">Carol Vogel (July 7, 2011), 2 Continents, 1 Work and 31 Hand Positions The New York Times.</ref>
  • For Beginners (all the combinations of the thumb and fingers) (2010)<ref name=LACMA>Template:Cite web</ref> – video depicting Nauman's hands enacting all the possible combinations of the four fingers and thumb – 31 positions in all – accompanied by his verbal enumeration of each finger combination. Purchased in a 50–50 deal by François Pinault and LACMA.<ref name="nytimes.com"/>
  • For Beginners (instructed piano) (2010) — sound piece featuring a tentative piano solo by the artist-musician Terry Allen.<ref>Roberta Smith (December 9, 2010), Bruce Nauman: 'For Children/For Beginners' The New York Times.</ref>

Commissions

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In 1990, the Greater Des Moines Public Art Foundation commissioned a cast bronze version of Nauman's Animal Pyramid (1989), a stack of seventeen taxidermy molds rising to twelve feet. It is installed in the grounds of the Des Moines Art Center, Iowa.<ref name="gagosian.com"/>

Collections

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Nauman's work is in the collections of the Art Institute of Chicago;<ref name=ArtInstitute>Template:Cite news</ref> Kunstmuseum Basel;<ref name="Kunstmuseum">Template:Cite web</ref> the Hallen für Neue Kunst Schaffhausen; Kunsthaus, Zürich; Hamburger Bahnhof/Friedrich Christian Flick Collection, Berlin; Museum Brandhorst, Munich; Centre Pompidou, Paris; the Solomon R. Guggenheim Museum<ref name=Guggenheim-2>Template:Cite web</ref> and the Museum of Modern Art in New York;<ref name=MoMA>Template:Cite web</ref> the Hirshhorn Museum and Sculpture Garden in Washington, DC;<ref name=Hirshhorn>Template:Cite web</ref> Museum of Contemporary Art, Chicago;Tate Modern<ref name=Tate/> in London, New Mexico Museum of Art,<ref>Template:Cite web</ref> di Rosa,<ref>Template:Cite web</ref> and the Walker Art Center, among many others.

Recognition

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File:Fifteen Pairs of Hands by Bruce Nauman (1996).JPG
Fifteen Pairs of Hands (1996) in the collection of the National Gallery of Art

Bruce Nauman holds honorary Doctor of Fine Arts degrees from the San Francisco Art Institute and the California Institute of the Arts. His awards include:

Time named Nauman one of their 100 most influential people in 2004. In 2006, Artfacts.net ranked Nauman as number one among living artists, followed by Gerhard Richter and Robert Rauschenberg.<ref>Template:Cite web</ref> In 2013, Complex ranked Wall-Floor Positions the 19th best work of performance art in history.<ref>Template:Cite web</ref>

Influences

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Nauman has cited as major influences the following writers, philosophers, and artists:

  • HC Westermann
  • Samuel Beckett
  • Ludwig Wittgenstein - Throughout Nauman's long career, to a greater or lesser extent, Nauman has credited Wittgenstein as an influence of his work. He has spoken of this influence in several interviews. In a 1970 interview Nauman speaks to the broader sense of Wittgenstein's influence: “Just the way Wittgenstein proceeds in thinking about things, his awareness of how to think about things. I don't think you can point to any specific piece that's the result of reading Wittgenstein, but it has to do with some sort of process of how to go about thinking about things.” This sentiment was also stated in a 1980 article. Nauman makes these statements even though he has pointed to a piece that was directly influenced, in a 1966 interview where Nauman speaks about the piece “A rose has no teeth”, the title of which was a direct quote from one of Wittgenstein's "language games". This relationship is something that art writers have continued to see in his work throughout his career, especially in his linguistic works, whether written or spoken. Arthur C. Danto speaks of Nauman's work and his relationship to Wittgenstein in an article written in 1995: “A great deal of the work of Bruce Nauman consists in issuing commands ... it is perhaps helpful to consider those works as having at times the framework and logic of language games — which means, since the works are often directed at us, that we are meant to do something in response ... designed as language games, they address us less as viewers than participants. To experience a Nauman is to interact with it in some way that goes beyond appreciating it as a work of art." In a similar line of thinking, Janet Kraynak in the book "Please pay attention please" makes a case that a set of works has a similar effect, by the fact that all the pieces "Contain Directive or imperative verbs, calling out 'You'", bringing the viewer into this language game that Nauman is setting up.
  • John Cage
  • Philip Glass
  • La Monte Young
  • Meredith Monk

Nauman was a part of the Process Art Movement.

Art market

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Nauman's earliest supporters, in the 1970s, were mainly European patrons and institutions, such as the Kunstmuseum Basel. Chicago-based collector Gerald Elliott was the first American to amass a sizable number of Naumans, including the 1966 plaster sculpture Mold for a Modernized Slant Step, all of which went to the Museum of Contemporary Art, Chicago, when he died in 1994. Emerging later as a prominent buyer was Friedrich Christian Flick, who collected more than 40 pieces from throughout Nauman's career.

Two of Nauman's early auction records were for monumental neons, both walls of blinking punning phrases: Sotheby's New York hammered down One Hundred Live and Die (1984) to the Benesse Art Site, in Naoshima, Japan, for $1.9 million in 1992,<ref>Carol Vogel (November 18, 1992), A Night to Buy Low at Sotheby's The New York Times.</ref> and five years later sold Good Boy/Bad Boy (1986–87) to the Daros Collection in Zürich for $2.2 million. Nauman's neon work Violins Violence Silence (1981/82) realized $4 million at Sotheby's New York in 2009.<ref>Souren Melikian (November 12, 2009), Sotheby's, in a Dazzling Sale, Nets $134 Million International Herald Tribune.</ref>

By 2001, the sculpture Henry Moore Bound to Fail (1967), a wax and plaster cast of Nauman's own arms tied behind his back, had set a new auction record for postwar art when Christie's sold it for $9.9 million to François Pinault. In 2002, Sperone Westwater Gallery sold Mapping the Studio (Fat Chance John Cage) (2001), four videos showing Nauman's cat chasing mice during the night, for $1.2 million apiece to such museums as Tate Modern, London; Dia Art Foundation, New York; Kunstmuseum Basel; and Centre Pompidou, Paris.

Nauman is represented by Sperone Westwater Gallery, New York, and Galerie Konrad Fischer, Düsseldorf and Berlin (since 1968).<ref name="Complex Cowboy: Bruce Nauman"/>

References

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Further reading

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General and biographical

Works by Bruce Nauman

Exhibitions

Review and criticism

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