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."
Edited by Kathy Halbreich, Isabel Friedli, Heidi Naef, Magnus Schaefer, Taylor Walsh. Text by Thomas Beard, Briony Fer, Nicolás Guagnini, Kathy Halbreich, Rachel Harrison, Ute Holl, Suzanne Hudson, Julia Keller, Liz Kotz, Ralph Lemon, Glenn Ligon, Catherine Lord, Roxana Marcoci, Magnus Schaefer, Felicity Scott, Martina Venanzoni, Taylor Walsh, Jeffrey Weiss.
With a magician’s sleight of hand, Nauman’s art makes disappearance visible
Hbk, 9 x 10.5 in. / 356 pgs / 250 color. | 2/27/2018 | In stock $75.00
Published by Marsilio Arte. Edited with text by Roberta Tenconi, Vicente Todolí. Text by Joan Simon, Francesca Esmay, Gloria Sutton.
Published in conjunction with the exhibition at Pirelli HangarBicocca in Milan, this monograph presents the most up-to-date compilation of the spatial and architectural works of New Mexico–based artist Bruce Nauman (born 1941). Through his neons, corridors and room installations, Nauman accentuates the contrast between the perceptual and physical experience of space. Perception itself can be interpreted as the subject matter of his work; the aesthetic experience of entering a narrow corridor or an empty room flooded with neon light supersedes the art “objects” in the viewer’s experience. The volume includes newly commissioned essays on Nauman's conceptual developments and formal variations by scholars, conservators and curators such as Joan Simon, Francesca Esmay and Gloria Sutton, and a text by the exhibition curators. Alongside rich photographic documentation of the show, the publication also features entries for the 30 works on display written by researchers from international institutions.
Published by Marsilio Editori. Edited by Carlos Basualdo, Caroline Bourgeois. Text by Caroline Bourgeois, Erica Battle, Jean-Pierre Criqui, Damon Krukowski, Noé Soulier, Michael Taylor. Interview by Carlos Basualdo.
“Contrapposto” refers to a pose in which the human subject is turned slightly so that the bust is positioned off-axis from the lower body. American artist Bruce Nauman (born 1941) explores this ancient artistic concept with his most recent project, in which he revisits his 1968 video piece Walk with Contrapposto that depicts the artist’s attempt to hold the classic pose as he walks down a narrow corridor. Nauman uses today’s digital manipulation technologies to build upon this early work in an entirely new context, questioning the representation of human movement and human stillness throughout history. This volume, designed by London-based graphics studio Zak Group, presents documentation of Nauman’s Contrapposto series from 2015 to 2019 as well as the original video, with new essays that extrapolate upon Nauman’s use of space and performance throughout his career.
Published by Laurenz Foundation, Schaulager. Edited with text by Eva Ehninger. Text by Eric de Bruyn, Heather Diack, Sebastian Egenhofer, Stefan Neuner, Wolfram Pichler, Gloria Sutton.
Bruce Nauman: A Contemporary presents the artist (born 1941) as contemporary in a double sense. First, the works of Nauman’s 50-plus-year career are placed in the context of contemporary positions and discourses. Second, the publication analyzes the extent to which Nauman’s themes, media and forms have forged connections to the present, remaining of enduring importance for artists of subsequent generations.
This publication seeks to counter the tendency to cast Bruce Nauman as an outstanding, solitary figure of postmodernism by putting the artist’s work back in context. Nauman’s early works were originally discussed in the context of contemporary practices and discourses, such as minimal music, postmodern dance, conceptual art, Gestalt therapy or the philosophy of language. But soon Nauman’s reputation came to precede him, and his more recent work has largely been appraised independently of any artistic, social, historical or theoretical context. Critical consideration of Nauman’s work has narrowed to a relatively small selection of the artist’s works and ideas.
Bruce Nauman: A Contemporary redresses this imbalance by focusing on thematic concerns shared by Nauman and his contemporaries. Scholarly essays explore how Nauman and his works enter contemporary conversations on the relationship of art and work, art and globalization, and corporeality in the digital age.
Published by The Museum of Modern Art, New York. Edited by Kathy Halbreich, Isabel Friedli, Heidi Naef, Magnus Schaefer, Taylor Walsh. Text by Thomas Beard, Briony Fer, Nicolás Guagnini, Kathy Halbreich, Rachel Harrison, Ute Holl, Suzanne Hudson, Julia Keller, Liz Kotz, Ralph Lemon, Glenn Ligon, Catherine Lord, Roxana Marcoci, Magnus Schaefer, Felicity Scott, Martina Venanzoni, Taylor Walsh, Jeffrey Weiss.
At 76 years old, Bruce Nauman is widely acknowledged as a central figure in contemporary art whose stringent questioning of values such as good and bad remains urgent today. 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.
This richly illustrated catalog offers a comprehensive view of Nauman’s work in all mediums, spanning drawings across the decades; early fiberglass sculptures; sound environments; architecturally scaled, participatory constructions; rhythmically blinking neons; and the most recent 3D video that harks back to one of his earliest performances. A wide range of authors—curators, artists and historians of art, architecture and film—focus on topics that have been largely neglected, such as the architectural models that posit real or imaginary sites as models for ethical inquiry and mechanisms of control. An introductory essay explores Nauman’s many acts of disappearance, withdrawal and deflection as central formal and intellectual concerns. The 18 other contributions discuss individual objects or themes that persist throughout the artist’s career, including the first extensive essay on Nauman as a photographer and the first detailed treatment on the role of color in his work. A narrative exhibition history traces his reception, and features a number of rare or previously unpublished images.
Bruce Nauman was born in Indiana in 1941 and raised near Milwaukee, Wisconsin. He studied math, music and physics at the University of Wisconsin–Madison before switching his major to visual art, and received an MA in sculpture from the University of California, Davis, in 1966. In 1979 he moved to New Mexico, where he continues to reside. Nauman’s work has been the subject of two previous retrospectives, in 1972 and 1994. In 2009 he represented the United States at the Venice Biennale, where he won the Golden Lion.
Thomas Beard is Co-Founder of Light Industry, a venue for film and electronic art in Brooklyn and Programmer at Large for the Film Society of Lincoln Center.
Briony Fer is Professor of the History of Art at University College London and a Fellow of the British Academy.
Isabel Friedli is Curator and Head of Publications at the Schaulager, Basel.
Nicolás Guagnini is a New York-based artist.
Kathy Halbreich is the Laurenz Foundation Curator and former Associate Director at the Museum of Modern Art, New York.
Rachel Harrison is an artist who lives and works in Brooklyn.
Ute Holl is Professor of Media Studies at the University of Basel. Her research focuses on the nexus of cinema, perception, and knowledge.
Suzanne Hudson is Associate Professor of Art History and Fine Arts at the University of Southern California.
Julia Keller is Curatorial Assistant at Schaulager Basel.
Liz Kotz is an Associate Professor in the Department of the History of Art at University of California, Riverside.
Ralph Lemon is a choreographer, writer and visual artist based in New York. His recent exhibitions include Bibelots, at Bortolami, New York in 2017, and Union Gaucha Productions (with Karin Schneider) at Artists Space, New York.
Glenn Ligon is an artist based in New York. A mid-career retrospective of his work was organized by the Whitney Museum of American Art in 2011.
Catherine Lord is a writer, artist, curator and Professor Emerita of Art at the University of California, Irvine.
Roxana Marcoci is Senior Curator in the Department of Photography at the Museum of Modern Art, New York.
Magnus Schaefer is Assistant Curator in the Department of Drawings and Prints at the Museum of Modern Art, New York.
Felicity Scott is Associate Professor of Architecture and Co-director of the Critical, Curatorial and Conceptual Practices in Architecture program at Columbia University.
Martina Venanzoni is a member of the research and editorial team at Schaulager Basel.
Taylor Walsh is Curatorial Assistant in the Department of Drawings and Prints at the Museum of Modern Art, New York.
Jeffrey Weiss is Senior Curator at the Solomon R. Guggenheim Museum, New York, where he codirected the Panza Collection Initiative.
Published by Fondation Cartier pour l'art contemporain, Paris. Text by Joan Simon, Robert Storr.
Since the late 1960s, Bruce Nauman (born 1941) has developed an astounding body of work combining sculpture, video, neon, installation and performance art. Nauman explores the body and identity, the function of language, the perception of space and the participation of spectators. He is also particularly interested in the world of dance; influenced by his encounter with John Cage and Merce Cunningham, in 1967 he began producing a series of filmed performances in which banal, everyday gestures or simple phrases are repeated methodically. In the 1970s and 1980s, he used neon in his works, playing with words or representing sexual scenes. Nauman’s more recent pieces continue to question the ideas or concepts he has explored since the beginning of his career, adding to an exceptionally rich body of work. Designed in close collaboration with the artist, and published for an exhibition at the Fondation Cartier, Bruce Nauman presents photographs, notes, and sketches alongside excellent reproductions of art, all from the last four years, that allow the reader to gain a deeper understanding of a work that mines a terrain between conceptual and minimalist art.
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 Publishers. 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 Publishers
BOOK FORMAT Hardcover, 7 x 9.5 in. / 128 pgs / 9 color / 60 bw.
PUBLISHING STATUS Pub Date 4/30/2013 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 111
PRODUCT DETAILS ISBN 9783952363027TRADE List Price: $45.00 CDN $60.00
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 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 164
PRODUCT DETAILS ISBN 9780982424087TRADE List Price: $12.95 CDN $18.50 GBP £10.99
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 für moderne Kunst. 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 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
Published by Guggenheim Museum Publications. 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.