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Bruce Nauman Photo

Bruce Nauman

American Performance and Video Artist

Born: December 6, 1941 - Fort Wayne, Indiana
"What I am really concerned about is what art is supposed to be - and can become."
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"I'm surprised when the work appears beautiful, and very pleased. And I think work can be very good and very successful without being able to call it beautiful, although I'm not clear about that. The work is good when it has a certain completeness, and when it's got a certain completeness, then it's beautiful."
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"Sunsets, flowers, landscapes: these kinds of things don't move me to do anything. I just want to leave them alone. My work comes out of being frustrated about the human condition. And about how people refuse to understand other people. And about how people can be cruel to each other. It's not that I think I can change that, but it's just such a frustrating part of human history."
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"And then what makes the work interesting is if you choose the right questions."
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"I think the point where language starts to break down as a useful tool for communication is the same edge where poetry or art occurs. Roland Barthes has written about the pleasure that is derived from reading when what is known rubs up against what is unknown, or when correct grammar rubs up against nongrammar... If you only deal with what is known, you'll have redundancy: on the other hand, if you only deal with the unknown, you cannot communicate at all. There is always some combination of the two, and it is how they touch each other than makes communication interesting."
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"Generalized anger and frustration is something that gets you in the studio, and gets you to work - though it's not necessarily evident in anything that's finished."
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"I don't like to think about being an influence. It's embarrassing."
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Summary of Bruce Nauman

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.

Accomplishments

  • Some of Nauman's earliest work was shaped by ideas that arose in the wake of Minimalism in the late 1960s. In particular, the way he treated the body - often his own, shown on video completing repetitive tasks - and the way he related the body to surrounding objects show the impact of Minimalism's new ideas about the relationship between the viewer and the sculptural object. His occasional interest in abstraction and sculptural concerns such as gravity also betray the style's influence. But Nauman, shunned the slick production values of Minimalism and has often showed a preference for a cruder manner of presentation.
  • Ludwig Wittgenstein's ideas about language have been an important influence on his work, shaping his interest in the way words succeed or fail in referring to objects in the world. The philosopher's outlook has also no doubt influenced the tone of some of Nauman's work, which sometimes has comic, absurdist touches, employing jokes and word play, and yet also touches on obsessive behavior and frustration.
  • Much of Nauman's work reflects the disappearance of the old modernist belief in the ability of the artist to express his ideas clearly and powerfully. Art, for him, is a haphazard system of codes and signs, just like any other form of communication. Aside from informing his use of words, it has also encouraged him to use readymade objects - objects that, unlike paintings or traditional sculptures, already carry meanings and associations from their use in the world - and to make casts of objects ranging from the space underneath chairs to human body parts.

Biography of Bruce Nauman

Bruce Nauman Photo

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.



Progression of Art

1967

The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign)

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

1981

South American Triangle

In this first of several "suspended chair" political sculptures, the chair that is commonly complicit in torture (i.e. an electric chair or interrogation chair) becomes the disoriented torture victim. As Nauman has said, "I thought of using a chair that would somehow become the figure: torturing a chair and hanging it up or strapping it down." Like similar hanging sculptures of Nauman's, it was intended to mount a critique of totalitarian regimes that then held power in South America and South Africa. It also refers to the space outside of the studio, as well as the fundamental structure of life: an atom with electrons encircling it, or the nucleus and membrane of cell, composed of raw and unforgiving materials.

Steel and iron - Hirshhorn Museum and Sculpture Garden, Washington, D.C.

1984

One Hundred Live and Die

Consisting of four columns containing 100 words relating life and death with different actions, emotions, and colors, this simultaneously poetic and vulgar barrage of lights and hues epitomizes the human experience. According to a complex algorithm, one phrase after another flashes on and off individually, followed by each column lit up, and culminating in the illumination of the entire piece, creating a visual symphony that characterizes Nauman's love of word play combined with social commentary, as well as his interest in color relationships.

Neon tubing mounted on four metal monoliths - Fukake Publishing Co., Ltd., Naoshima Contemporary Art Museum, Kagawa, Japan

1987

Clown Torture

Video was absent from Nauman's work from 1973 until 1985, and this was one of the most significant pieces he made upon his return to the medium. Installed in an enclosed room, it consists of videotapes projected directly onto the two sidewalls and two pairs of stacked monitors on pedestals. Five sequences - Clown Taking a Shit; Pete and Repeat; No, No, No, No; Clown with Goldfish Bowl; and Clown with Water Bucket - play over each other repeatedly. This visual and auditory attack on the viewer is both disarming and nearly unbearable, and features some of Nauman's primary themes: surveillance, physical stress, interrogation, repetition, and word games. Nauman takes clowning to an entirely different level, highlighting the hidden horror in children's play.

Installation: two 20-in. color monitors, two 25-in color monitors, four speakers, two video projectors, four videotapes (color, sound) - Lannan Foundation, Los Angeles

1989

Untitled (Two Wolves, Two Deer)

In 1988, after a hiatus of nearly twenty years, Nauman returned to casting found objects. He created a number of polyurethane foam animal models using taxidermy molds found in a New Mexico shop and used these as the basis for a series of works that resurrected an earlier theme - political violence and interrogation - and an earlier formal motif - the carousel of suspended sculptures. Untitled (Two Wolves, Two Deer) is one of the works that followed this initial series. Here he dismembers the models and rearranges their anatomy into monstrous form, creating a scene reminiscent of a slaughterhouse. In a related series, he used the models to create strange pyramids of animals, like sacrificial offerings.

Foam, wax, wire - Private collection, New York

1989

Rinde Head/Andrew Head (Plug to Nose) on Wax Base

Hollow wax head casts from two of Nauman's three models - Andrew, Rinde and Julie - meet here as a continuation of the artist's examination of the head and face in multiple media and the relationship between identity and facial expression, frozen in wax. The "plug" refers to the nose plug worn by live models to enable breathing while a cast is made. The strange posture of the models seems to reflect Nauman's interest in the difficulty of communication, alluding, perhaps, to old-fashioned expressions which rely on reference to the body, like "from hand to mouth."

Wax - Froehlich Collection, Stuttgart, Germany

2001

Mapping the Studio I (Fat Chance John Cage)

Some of Nauman's earliest work focused on him performing mundane, repetitive tasks in his studio. This recent piece marks a kind of return to the studio - though this time the artist is absent. He set up a series of infrared cameras to capture the activity at night as his cat walks about, mice scurry away, and moths buzz through the air. Then he edited the material down to six hours per projector. Nauman has always been skeptical of the notion of the artist as a creative genius, and this piece exposes the truth once again, depicting the studio not as a special place brought to life by the artist, but rather as a humdrum environment in which much occurs that passes by unnoticed by the artist. It is rather as if we were peering into the dark recesses of Nauman's creative mind and discovering that creativity is a torturously slow process in which there is as much waiting as working.

Multi-screen video projection - Lannan Foundation, New Mexico


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Content compiled and written by Anne Marie Butler

Edited and published by The Art Story Contributors

"Bruce Nauman Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Anne Marie Butler
Edited and published by The Art Story Contributors
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First published on 01 Aug 2012. Updated and modified regularly
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