American Performance and Video Artist
Born: December 6, 1941 - Fort Wayne, Indiana
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Most Important Art
Influences and Connections
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|The History and Use-case of Modern Art|
"What I am really concerned about is what art is supposed to be - and can become."
Bruce Nauman was one of the most prominent, influential, and versatile American artists to emerge in the 1960s. Although his work is not easily defined by its materials, styles, or themes, sculpture is central to it, and it is characteristic of Post-Minimalism in the way it blends ideas from Conceptualism, Minimalism, performance art, and video art. The revival of interest in Marcel Duchamp in the 1960s also clearly influenced Nauman in various ways, from encouraging his love of wordplay to infusing his work with a satirical and sometimes absurdist tone. Despite the impact of Dada, however, he has continued to view his art less as a playful or creative enterprise than as a serious research endeavor, one he likes to carry out in seclusion from the art world, one that is shaped by his interests in ethics and politics.
Most Important Art
More Art Works
The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) (1967)
Created in the studio Nauman established in an abandoned grocery store in San Francisco and modeled after the neon advertisement signs nearby, this seminal work acts as an advertisement of a different kind. Its colorful, circular text proclaims the words of the title: "The True Artist Helps the World by Revealing Mystic Truths." It is characteristic of Nauman's early neon works, and typical of the tone of dry satire in much of his work. Speaking of high art in the materials of low culture and advertising, it sets up a clash that prompts us to question old assumptions about the purpose of art and artists. Might artists be ordinary salesmen, just like so many others?
Neon tubing with clear glass tubing suspension supports - Philadelphia Museum of Art
Bruce Nauman was born on December 6, 1941, in Fort Wayne, Indiana. His father, an engineer and a salesman, moved the family several times to different midwestern locations, resulting in a somewhat turbulent and lonely childhood for Nauman. A shy and small youth, Nauman enjoyed reading, and studied piano, guitar, and upright bass. Although he was not encouraged by his parents to continue his musical pursuits, he played in a polka band during his high school years in Wauwatosa, a suburb of Milwaukee, and continued to play in bands in college, first a dance band and then in jazz groups, which he found more interesting. He received no training and very little exposure to visual art during his childhood and did not develop a true passion for creating art until college.
Nauman began his secondary education at the University of Wisconsin, Madison, where he first concentrated on math and physics, but after his sophomore year he informed his parents that he would become an artist and graduated in 1964 with a bachelor's degree in science with a minor in painting.
He married his first wife, Judy, in 1964. They had a son, Erik, in 1966 and a daughter, Zoe, in 1970. In 1966, he graduated with an MFA from the University of California, Davis. Among his instructors at Davis were William T. Wiley, Robert Arneson, and Manuel Neri. All three worked in sculpture and outside the norms of the time, which undoubtedly had a profound influence on Nauman's desire for non-conformity. The newly established program's relaxed and somewhat unstructured approach to instruction worked quite well for Nauman, who felt encouraged to critique more formal styles and methods.
Upon his graduation, he moved to a studio in San Francisco and taught a weekly early morning class at the Art Institute, seldom encountering his colleagues and peers. This solitary lifestyle contributed to the development of a method of working in seclusion that would persist for several years. In his very early career at Davis, Nauman made experimental paintings and "plastic things," mainly working in oil and producing abstract and landscape works. He also experimented with welding steel forms and affixing them onto canvas, painting three-dimensional landscape shapes. While at Davis, he decided to give up painting, claiming that the materials "got in the way." He produced his last canvas, Untitled (1964-65), in 1965. This break with painting spurred an exploration of media, and in subsequent years, Nauman became prolific in film, performance and sculpture. He first produced fiberglass sculptures in 1965, using casting to focus on the process of art-making itself, and entering the Process art movement by disregarding the art object itself in favor of its creation. By the fall of 1966, art making for Nauman had become not a method by which to make a finished product, but an activity that was art in itself.
During late 1960s and early 1970s, Nauman's work and career developed quickly. He had his first solo show in 1968 at the Leo Castelli Gallery in New York, and was also included in many prominent group shows of the time, such as Eccentric Abstraction (1966) in New York, Documenta 4 (1968) in Kassel, Germany, and Anti-illusion: Procedures/Materials (1969) at The Whitney in New York. Although rejected by many American critics for the anti-formal nature of his work, European curators, already primed for critique of formalism by artists like Joseph Beuys and the Italian Arte Povera group, embraced Nauman's work, particularly his alternative media. Nauman's work was shown in forums such as the Kunsthalle Bern and the Stedlijk Museum in Amsterdam. This surge of interest culminated in 1972 when gallerists Jane Livingston and Marcia Tucker organized a widely touring, extensive survey of Nauman's work for the Los Angeles County and Whitney museums. The deeply private Nauman reacted poorly to the overflow of attention, and in the mid-1970s, severely reduced his artistic output. He began to employ more text in his works, channeling his anger and frustration into phrases such as "Please/Pay Attention/Please" and "Placate My Art" that were featured in the compositions. While attempting to incorporate text into his sculptures of the period, he was challenged to find a cohesive way of incorporating his voice into his commanding structures, and although he created numerous neon light works and installations, his sculpture evolved in a more conceptual direction, withholding information and requiring a complex response from the viewer by creating "uncomfortable spaces and shapes." By the early 1980s, Nauman replaced text-driven installations and model pieces with important, aggressive neon light works and sculptures, evolving his use of language correspondingly. Although never considered a Neo-Expressionist, during the movement, American and European collectors alike coveted Nauman's work, and he enjoyed six solo shows between 1982 and 1984.
From the 1980s onward, Nauman has employed a wide variety of media, incorporating language and political commentary for which he is well-known. Continuing to experiment with bizarre forms and unusual materials, his art has stayed original and captivating throughout his long career. Some of his most recent works, the 2009 sound installation pieces, Days and Giorni, were featured at the Venice Biennale of that same year, representing the United States and winning the Golden Lion award. In 1989, he married painter Susan Rothenberg, and the two constructed separate studios and a home near Galisteo, New Mexico, where they currently reside. The two have managed to remain almost completely uninfluenced by one another, owing to their very different styles and themes.
Nauman remains one of the most influential contemporary American artists. His innovative and provocative ideas are expressed in a wide range of media and materials, which makes it difficult to categorize his work as inhabiting a single style. Even throughout his sixties, he has continued to work primarily in sculpture and video, exploring language and the physical body with unusual themes based on animal and human body parts. He has influenced countless young artists, including the Young British Artists movement, by embracing social and political commentary and helping to loosen the hold of Minimal art. Among his honors are an Honorary Doctor of Fine Arts degree from the San Francisco Art Institute in 1989, the Max Beckmann Prize in 1990, the Wolf Prize in Arts-Sculpture in 1993, the Wexner Prize in 1994, and the Golden Lion for Best Artist at the Venice Biennale in 2009.
Influences and Connections
Artists, Friends, Movements
Artists, Friends, Movements
Content compiled and written by Anne Marie Butler
Edited and published by The Art Story Contributors
Useful Resources on Bruce Nauman
| Bruce Nauman (PAJ Books: Art + Performance) |
By Robert C. Morgan
| Please Pay Attention Please: Bruce Nauman's Words |
By Bruce Nauman, Janet Kraynak
| Artist page on PBS.org |
Includes links to a number of videos and related pieces
| Tate: Bruce Nauman |
Features Biographical Information and an Extensive List of Works
| Bruce Nauman, Playing his Hand(s) |
By Dorothy Spears
| Listen: Can You Hear the Space? |
By Roberta Smith
| Comfortable? Easy? Not for Bruce Nauman |
By Roberta Smith
| Art:21: Bruce Nauman |
Episode About the Artist on the PBS Series Art:21
| Bruce Nauman: Make Me Think |
1997 Documentary About the Artist, Directed by Heinz Peter Schwerfel
| Bruce Nauman: Walking in an Exaggerated Manner Around the Perimeter of a Square |
Performance Art Piece from 1967-68
| Exclusive interview with Bruce Nauman |
By Karen Wright