COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0005127
image_record_id
aahi0005127
Image Record ID
false
Work Title (display):
Green Light Corridor
Image Title:
installation view
Work Dates (display):
1970-1971
Work Dates type:
creation
Image Date (display):
2009-09-15
Work Creator (display):
Bruce Nauman (American, born 1941)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American sculptor, photographer and performance artist working with video. He studied mathematics and later art with Italo Scanga (b 1932) at the University of Wisconsin (196064). At the University of California at Davis (19656) his teachers included William T. Wiley (b 1937) and Robert Arneson (b 1930). Upon graduation (MFA, 1966) he exhibited enigmatic, fibreglass sculpture. Nauman himself was already the subject of his art. Although he was a formidable draughtsman, Nauman's neon works, films, videotapes, performances, installations, sculpted body parts and word plays at first seemed frustratingly art-less. His was an art of exploration: he used himself, his person and his witty brand of inquiry to examine the parameters of art and the role of the artist. This questioning elicited strong emotional, physical and intellectual responses, and it often resulted in objects of formal beauty. Neon Templates of the Left Half of my Body, Taken at Ten Inch Intervals (1966; priv. col., see 1972 exh. cat., no. 17) and the colour photograph Self Portrait as a Fountain (1966; New York, Whitney) show him first extracting strangely compelling neon forms from the contours of his body and, in the latter, whimsically challenging preconceived notions of the 'fountain'. Interested in new forms of music and literature, Nauman used the evocative power of language (in drawings, video scripts and neon installations), dismantling linguistic structure, creating puns and oxymorons, and linking contradictory words in alliterative sequences, as in Violins Violence Silence (neon tubing, 1.58×1.66×0.15 m, 19812; Baltimore, MD, Mus. A.). Using flashing neon signs, he stripped words and, later, actions of their conventional meanings, as in Welcome Shaking Hands (1985; see Silverthorne and others, pp. 523), leaving disquieting ironies and moral dilemmas. (Grove Art online Accessed 2006-07-25)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
technology
subject
technology
Work Subject
false
Work Subject:
scale (relative size)
subject
scale (relative size)
Work Subject
false
Work Subject:
light
subject
light
Work Subject
false
Work Subject:
color
subject
color
Work Subject
false
Work Subject:
anxiety
subject
anxiety
Work Subject
false
Work Subject:
conflict (general sense)
subject
conflict (general sense)
Work Subject
false
Work Subject:
confusion
subject
confusion
Work Subject
false
Work Subject:
experience
subject
experience
Work Subject
false
Work Subject:
anticipation
subject
anticipation
Work Subject
false
Work Subject:
perception
subject
perception
Work Subject
false
Work Worktype:
light art
work_type
light art
Work Worktype
false
Work Worktype:
sculpture (visual works)
work_type
sculpture (visual works)
Work Worktype
false
Work Worktype:
installations (visual works)
work_type
installations (visual works)
Work Worktype
false
Work Category (VRC classification):
sculptures and installations
work_category__ucbaahvrc_classification_
sculptures and installations
Work Category (VRC classification)
false
Work Location (Repository or Site) name:
Solomon R. Guggenheim Museum
Work Location (Repository or Site) role:
repository
Work Location (Geographic) name:
New York, New York
Image Source Reproduction citation:
Bishop, Claire. Installation Art: A Critical History. New York: Routledge, 2005.
image_source_copy_from_print_name
Bishop, Claire. Installation Art: A Critical History. New York: Routledge, 2005.
Image Source Reproduction citation
false
Image Source Reproduction refid:
0-415-97412-7
Image Source Reproduction page number:
71
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© Solomon R. Guggenheim Museum
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Bruce Nauman
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see