September 29, 2013
When Attitudes Become Form, Kunsthalle Bern, 1969 — installation view with Mario Merz, Bruce Nauman, Robert Morris and Barry Flanagan

When Attitudes Become Form, Kunsthalle Bern, 1969 — installation view with Mario Merz, Bruce Nauman, Robert Morris and Barry Flanagan

(Source: contemporaryartdaily.com)

March 11, 2013
Bruce Nauman, La Brea Art Tips Rat Spit Tar Pits, 1972

Bruce Nauman, La Brea Art Tips Rat Spit Tar Pits, 1972

February 26, 2013
Anti-Illusion: Procedures/Materials, Whitney Museum of American Art, 1969: Richard Serra, One Ton Prop; Keith Sonnier, Flocked Wall; Bruce Nauman, Performance Corridor; Robert Rohm, Untitled; Eva Hesse, Untitled (Ice Piece); Richard Serra, Casting. (Clockwise from center)
For Jarzyniecki

Anti-Illusion: Procedures/Materials, Whitney Museum of American Art, 1969: Richard Serra, One Ton Prop; Keith Sonnier, Flocked Wall; Bruce Nauman, Performance Corridor; Robert Rohm, Untitled; Eva Hesse, Untitled (Ice Piece); Richard Serra, Casting. (Clockwise from center)

For Jarzyniecki

December 8, 2012
babesatthemuseum:

Johanne in front of Bruce Nauman’s Double Poke in the Eye II installation at Dia:Beacon. The neon glow hugs oh so nicely around her cheek bones. (photo by Xavier Aaronson)

Read Daniel Marcus for SFMOMA Open Space on museums, the public, mediation, collections… and Babes at the Museum.

babesatthemuseum:

Johanne in front of Bruce Nauman’s Double Poke in the Eye II installation at Dia:Beacon. The neon glow hugs oh so nicely around her cheek bones. (photo by Xavier Aaronson)

Read Daniel Marcus for SFMOMA Open Space on museums, the public, mediation, collections… and Babes at the Museum.

September 25, 2012
Bruce Nauman, First Hologram Series: Making Faces (F), 1968
Holographic image on glass

Bruce Nauman, First Hologram Series: Making Faces (F), 1968

Holographic image on glass

July 29, 2012
Bruce Nauman, RAW/WAR, 1968; pencil, colored pencil, watercolor on paper; 29 3/4 x 22 inches; Froehlich Collection, Stuttgart

Bruce Nauman, RAW/WAR, 1968; pencil, colored pencil, watercolor on paper; 29 3/4 x 22 inches; Froehlich Collection, Stuttgart

March 23, 2012
(via partizany, research-development)
Bruce Nauman…
Perhaps (if our memory serves) this work is from 1994 and is titled Jump. So called because the camera’s mounted up high, and Nauman’s jumping, with no little effort, into frame. As he does, he shouts, “WORK!”—as he works, producing a work.
When Julian saw the piece in 2000 at the Tate Modern, it was located directly outside an upstairs book shop, where, of course, there were several people themselves working to the tune of Nauman’s “work”-blurts. Asked if the soundtrack proved nettlesome as one tried to pass the day, one employee replied “yeeeesssssssss….”
As the English sometimes will.

(via partizany, research-development)

Bruce Nauman…

Perhaps (if our memory serves) this work is from 1994 and is titled Jump. So called because the camera’s mounted up high, and Nauman’s jumping, with no little effort, into frame. As he does, he shouts, “WORK!”—as he works, producing a work.

When Julian saw the piece in 2000 at the Tate Modern, it was located directly outside an upstairs book shop, where, of course, there were several people themselves working to the tune of Nauman’s “work”-blurts. Asked if the soundtrack proved nettlesome as one tried to pass the day, one employee replied “yeeeesssssssss….”

As the English sometimes will.

December 17, 2011
Bruce Nauman, Templates of the Left Half of My Body Taken at Ten Inch Intervals, 1966—studio view from the catalogue for When Attitudes Become Form—Live In Your Head, curated by Harald Szeemann for the Kunsthalle Bern, March 22-April 27, 1969.

Bruce Nauman, Templates of the Left Half of My Body Taken at Ten Inch Intervals, 1966—studio view from the catalogue for When Attitudes Become Form—Live In Your Head, curated by Harald Szeemann for the Kunsthalle Bern, March 22-April 27, 1969.

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