Titel
Elusive signs : Bruce Nauman works with light.
Schrijver
Ketner, Jospeh D. & Bruce Nauman.
ISBN
9780944110836
Uitgever
Milwaukee Art Museum/MIT Press. 2006. Paperback. 96pp. Ill. Condition: very good, clean and unread copy. Conditie: als nieuw
Prijs
€ 12,00
Bijzonderheden
Conditie: als nieuw. ART
Meer info
- 96-page catalogue for an exhibition held January 28-April 9, 2006, in Milwaukee; Veröffentlichung zur gleichnamigen Ausstellung vom 28. Januar bis zum 9. April 2006 im Milwaukee Art Museum. Mit Essays von Joseph D. Ketner II, Janet Kraynak und Gregory Volk Images of nearly all Bruce Nauman's signs and room installation using neon and fluorescent light, from Window or Wall Sign (1967) to the monumental One Hundred Live and Die (1984), accompanied by interpretive essays. Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, Window or Wall Sign, in 1967. He wanted, he said, to achieve ''an art that would kind of disappearthat was supposed to not quite look like art.'' Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. Elusive Signs focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After Window or Wall Sign, Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with My Name as Though it Were Written on the Surface of the Moon (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as Run from Fear, Fun from Rear (1972). This series culminates in the monumental, billboard-size One Hundred Live and Die (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In incisive essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
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