Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Although Nauman thinks of himself as a political artist, he avoids any kind of programmatic categorization he consciously renounces all forms of communicative commitment; all the same, what is not--or cannot be--said in his work nevertheless contains a statement as to the structure of what is actually supposed to be being said. Formulated in various media but not described as such, this statement is not in the least way random, but merely liberated from any kind of prejudice. In a certain regard it is virginity that Nauman is after, a mode of being that is altogether untouched by 'pre-scription,' which quite simply means finding the body concealed beneath layered and historical overwritings, as well as he language of that body." Eugen Blume, excerpted from Bruce Nauman: Live or Die--or: The Measuring of Being in Bruce Nauman: Live or Die.
"Although Nauman thinks of himself as a political artist, he avoids any kind of programmatic categorization he consciously renounces all forms of communicative commitment; all the same, what is not--or cannot be--said in his work nevertheless contains a statement as to the structure of what is actually supposed to be being said. Formulated in various media but not described as such, this statement is not in the least way random, but merely liberated from any kind of prejudice. In a certain regard it is virginity that Nauman is after, a mode of being that is altogether untouched by 'pre-scription,' which quite simply means finding the body concealed beneath layered and historical overwritings, as well as he language of that body."
Published by White Cube. Edited by Honey Luard, Dorothy Feaver. Text by Constance Lewallen.
This slim volume focuses on the groundbreaking experimental films that Bruce Nauman (born 1941) made between 1967 and 1969, in which the artist’s own body is used as an instrument to relentlessly interrogate the human condition. After graduating from UC Davis in 1966, Nauman set up a studio in a former grocery shop in the Mission district of San Francisco and then in a sublet 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 ten-minute duration of a 16mm film reel. Among these films of this period are “Dance or Exercise on the Perimeter of a Square” and “Bouncing Two Balls between the Floor and Ceiling with Changing Rhythms.” Published for an exhibition at the White Cube gallery in London, this catalogue is published in a numbered edition of 500 copies.
Published by Hauser & Wirth. Edited by Philip Larratt-Smith.
Bruce Nauman (born 1941) emerged in the late 1960s Los Angeles art scene, as part of a generation of artists who dramatically expanded the possibilities of sculpture and performance. His emergence also coincided with the ascent of gestalt psychology, behaviorism and philosophers following in the wake of Wittgenstein’s philosophies of language. Nauman’s work is thus deeply literate and steeped in the history of psychology--particularly Freud’s work on puns and slips of the tongue, in The Psychopathology of Everyday Life, work that Nauman has explored in numerous language pieces using oxymorons, puns and Spoonerisms. Bruce Nauman: Mindfuck is the first publication to look at this celebrated artist’s work in performance, drawing, video, printmaking and neon installation, in the light of its relationship to psychology.
PUBLISHER HAUSER & WIRTH
BOOK FORMAT Hardcover, 7 x 9.5 in. / 128 pgs / 9 color / 60 bw.
PUBLISHING STATUS PUB DATE 4/30/2013 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2013 p. 111
PRODUCT DETAILS ISBN 9783952363027TRADE LIST PRICE: $45.00 CDN $55.00
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STATUS: Out of stock
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Published by Companion Editions, Douglas F. Cooley Memorial Art Gallery, Reed College. Edited and introduction by Stephanie Snyder. Text by Robert Slifkin.
Bruce Nauman: Going Solo is the first volume in Companion Editions’ series of pocketbook readers. Robert Slifkin’s meditation on Nauman’s early films and conceptual sculptures explore the significance of the studio environment and Nauman’s relationship to privacy, identity, subjectivity and intimacy.
PUBLISHER COMPANION EDITIONS, DOUGLAS F. COOLEY MEMORIAL ART GALLERY, REED COLLEGE
BOOK FORMAT Paperback, 5 x 7.5 in. / 48 pgs / 2 duotone.
PUBLISHING STATUS PUB DATE 7/31/2012 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2012 p. 164
PRODUCT DETAILS ISBN 9780982424087TRADE LIST PRICE: $12.95 CDN $15.00
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Published by DuMont Buchverlag. Text by Eugen Blume.
Some forty-odd years after Bruce Nauman began tweaking the conventions of studio practice and the hallowed persona of the 'artist-as-seer,' Pamela M. Lee wrote in Artforum not long ago, "his station in postwar art history rests secure. His influence--whether through his affectless, task-based performances, his sculptural castings of negative space, or his intermedia mash-ups of language, video and noise--is everywhere apparent in contemporary art." Indeed, from the American artist's early work in sculpture and video, made in the 1960s, through his famous spiral of neon letters spelling out "the true artist helps the world by revealing mystic truths," which at once summarized and opened to critique the perennial mystique of the artist, up through his three-venue Golden Lion Award-winning exhibition at the 2009 Venice Biennale, Nauman's work has long been an indispensable part of the narrative of recent American art. This essential volume, published in DuMont's fantastic Collector's Choice series, treats these and other recurrent themes of his oeuvre, such as sound, language, corporeality and dance, reproducing works from across his career and and providing a new standard overview of this ever-popular artist.
Published by Verlag Fur Moderne Kunst Nurnberg. Essays by Edelbert Kàb, Achim Hochdàrfler, Stefan Neuner and Wolfram Pichler.
Before spider holes made their media debut, there was Bruce Nauman's spectacular 1972-74 installation Audio-Video Underground Chamber. Its single concrete vault, with dimensions close to those of the human body, is buried--like a coffin--one and a half meters deep. Integrated into the space are a lamp, a camera and a microphone, which transmit image and sound to a gallery. The actual existence of the buried cabin is concretized only in the viewers' imagination by means of the live broadcast and two of Nauman's explanatory, blueprint drawings. Image and sound call up associations with the psychic and existential borderline areas around which Nauman's art often revolves, with feelings of isolation and claustrophobia, experiences of loss of communication and of orientation, and traumas such as that of being buried alive.
Published by Guggenheim Museum. Edited by Susan Cross. Essays by Susan Cross and Christine Hoffmann.
One of the most significant, funny, and nails-on-a-chalkboard jarring artists of the second half of the twentieth century, Bruce Nauman has expanded the scope of traditional art practice and influenced a generation of artists. He has made himself into a fountain (one-upping Marcel Duchamp?), cast the space under a chair, fashioned a screeching carousel of carcass-like parts, reinvented the neon sign as a contemporary haiku, and, most recently, recorded the dullness of his studio in real time. His ongoing investigation of our most basic physical, emotional and psychological states has been literally experienced by each of his viewers. Bruce Nauman: Theaters of Experience is a focused selection of works in a range of media, including sculpture, video, holograms, neon and architectural installations, which examine the artist's use of performance devices as a conduit for heightened self-awareness for both artist and audience. Featuring works from the Guggenheim Panza Collection, augmented with loans from several German collections, the exhibition and catalogue trace the theatrical elements in Nauman's oeuvre, as well as his manipulation of the performer-spectator roles.
Published by Walther König, Köln. Essay by Christine Litz. Foreword by Kasper Kànig.
In this latest work by Bruce Nauman, first mounted to great acclaim at the Dia Art Foundation in 2001, Nauman presents seven large-scale projections of his New Mexico studio interior. Forty-two hours of tape were shot over 42 nights using infra-red lenses, and reveal the basic preconditions for his artistic production: his empty studio.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Hardcover, 11.75 x 8.75 in. / 44 pgs / 30 color.
PUBLISHING STATUS PUB DATE 5/2/2003 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2003
PRODUCT DETAILS ISBN 9783883756851SDNR30 LIST PRICE: $19.95 CDN $25.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
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