Flesh white to black to flesh, 1968. Bruce Nauman. Preview from Season 1 of "Art in the Twenty-First Century" (2001) YouTube. Bruce Nauman Artist Rooms at Harris Museum & Art Gallery. "BRUCE NAUMAN: One Hundred Fish Fountain" at Gagosian Gallery Madison Avenue. Bruce Nauman: Make-Work. Bruce Nauman: Teachers & Artists. Hands Circle de Bruce Nauman vu par Ursula Meier. VTV Classics (r3): Bruce Nauman: Elusive Signs at MOCA North Miami (2006) Bruce Nauman - L’oeuvre existentielle. Percutante, l’exposition Bruce Nauman présentée du 26 mai au 3 septembre 2007 au Musée d’art contemporain de Montréal, propose une critique virulente de nos sociétés actuelles et des valeurs qu’elles véhiculent.
Dévoilant une palette diversifiée des installations de l’artiste américain qui œuvre depuis près de 40 ans, elle nous fait découvrir les multiples facettes de ce dernier, son intérêt pour l’exploration du langage et de notre perception du réel. Nauman nous introduit à son exposition avec une œuvre formée de néons de couleurs rose et bleu en spirale où le spectateur peut lire : The True Artist Helps the World by Revealing Mystic Truths. Cette phrase résume à elle seule l’essence de son travail. 02_action_nauman_planches. Artnet Magazine. 02_action_nauman_planches. Live and Die. Bruce Nauman, One Hundred Live and Die (detail), 1984, neon lights.
Naoshima Contemporary Art Museum Something poignant for the weekend… the dualism of life and death. Malaise dans l'exposition. Bruce Nauman’s Classic ‘One Hundred Live and Die’ Bruce Nauman is one of a handful of contemporary artists who have shaped the current state of art.
Like John Baldessari, Ed Ruscha, and even Yoko Ono, the contemporary artist has gone from performance to performance to performance, from video to painting to sculpture, crossing every line of artistry to make way for new artists (many of which have had work featured on this very site). They all have their hallmarks, conceptual posts to hang their career on, where–when you see it–you know it is a Baldessari or a Ruscha or an Ono. One Hundred Live and Die is what many consider to be Nauman’s masterpiece. Sad and hopeful, One Hundred flickers through each possible flippant, mundane, and tragic way to live or die in a blaze of neon exuberance. Each phrase (“LAUNCH AND LIVE,” “FALL AND DIE,” “SPIT AND LIVE,” etc.) light the room with its orange, blue, white, or whatever color it may be. リデファインド展 The Corcoran Gallery of Art. リデファインド展 Redefined: Modern and Contemporary Art from the Collection コーコラン・ギャラリー・オブ・アート The Corcoran Gallery of Art 500 17th Street, NW Washington DC 20006.
The Bruce Nauman picture gallery. "There's hardly an ounce of irony in Bruce Nauman, the person," writes the American critic and Nauman confidant Peter Plagens in our new book.
This is a striking observation for an artist who is often regarded as difficult, and sometimes even willfully obtuse. Plagens, who first met Nauman in the early 1970s, admits that the highly influential American artist doesn't supply gallery-goers with the kind of entry-level thrills they might have come to expect. In our introduction, Plagens writes that "Nauman doesn't give them semi-standardized, logo-like images that, once the penny of hipness drops, they'd be happy to wear on a T-shirt from a museum gift shop.
" Yet the 72 year old's films, sculptures, videos, drawings and performances have had an enormous influence on almost every sphere of contemporary art, bar painting. How did this come about? Of course, we can't explain everything here. Covers & citations » Bruce Nauman, ‘Untitled (The True Artist is an Amazing Luminous Fountain)’, 1968. Images for Tests, Contemporary Art History. Ca mange pas de pain » Bruce Nauman et la typographie. Elusive Signs: Bruce Nauman Works with Light: Joseph Ketner II: 9780944110836: Amazon.com: Books. Where light and truth intersect: Theater & arts: The Seattle Times. By the mid-1960s, Marcel Duchamp had long since shot down most preconceptions about what constitutes a work of art and Andy Warhol was busy giving the coup de grÃ¢ce to any lingering romantic notions.
Pop art had bypassed traditional subject matter only to rub our noses in the most blatant advertising, comic-strip and gossip-magazine imagery. What was left for a smart guy finishing up art school and eager to leave his mark? Bruce Nauman found more questions than answers, more contradictions than easy truths. He hung on to them. Then one day, while Nauman pondered a neon sign, he saw the light. A group of Nauman's neon pieces from 1966 to 1985 makes up the Henry Art Gallery show "Elusive Signs: Bruce Nauman Works with Light" — a smart, hard-hitting exhibition that's a nice counterpoint to the ethereal Turrell "Skyspace" just outside. Exhibition review "Elusive Signs: Bruce Nauman Works with Light," 11 a.m.- 5 p.m. Bruce Nauman. Collection of Various Flexible Materials Separated by Layers of Grease with Holes the Size of My Waist and Wrists. 1966.
My Name as Though It Were Written on the Surface of the Moon.