MTU Cork Library Catalogue

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Bruce Nauman / edited by Robert C. Morgan.

By: Nauman, Bruce, 1941-.
Contributor(s): Morgan, Robert C, 1943-.
Material type: materialTypeLabelBookSeries: PAJ booksArt + performance: Publisher: Baltimore : Johns Hopkins University Press, c2002Description: xii, 394 p. : ill. ; 23 cm.ISBN: 0801869064 (pbk. : alk. paper).Subject(s): Nauman, Bruce, 1941- -- Criticism and interpretation | Video art -- United States | Conceptual art -- United StatesDDC classification: 700.92 NAU
Contents:
I. Essays -- II. Reviews -- III. Interviews -- IV. Artist's writings.
Summary: "One of America's most important artists, Bruce Nauman has worked in a dazzling variety of media since the mid-1960s: sculpture, photography, performance, installation, sound, holography, film, and video. What has been a constant throughout his career, however, is his persistence in exploring both art as an investigation of the self and the power of language to define that self. The latest volume in the acclaimed Art + Performance series is the first book to combine the key critical writings on Nauman with the artist's own writings and interviews with him, as well as images of his work. Bruce Nauman offers a multifaceted portrait of an artist whose determination to experiment with style and form has created a body of work as eclectic and perhaps more influential than that of any other living American artist. "From the beginning I was trying to see if I could make art that did that. Art that was just there all at once. Like getting hit in the face with a baseball bat. Or better yet, like getting hit in the back of the neck. You never see it coming; it just knocks you down. I like that idea very much: the kind of intensity that doesn't give you any trace of whether you're going to like it or not." Bruce Nauman. "Bruce Nauman's art is about heightened awareness, awareness of spaces we usually don't notice (the one under the chair, out of which he made a sculpture) and sounds we don't listen for (the one in the coffin), awareness of emotions we suppress or dread... It's hard to feel indifferent to work like his." Michael Kimmelman, New York Times " -- Back cover.
Holdings
Item type Current library Call number Copy number Status Date due Barcode Item holds
General Lending MTU Crawford College of Art and Design Library Lending 700.92 NAU (Browse shelf(Opens below)) 1 Available 00228495
Total holds: 0

Enhanced descriptions from Syndetics:

"From the beginning I was trying to see if I could make art that did that. Art that was just there all at once. Like getting hit in the face with a baseball bat. Or better yet, like getting hit in the back of the neck. You never see it coming; it just knocks you down. I like that idea very much: the kind of intensity that doesn't give you any trace of whether you're going to like it or not." -- Bruce Nauman

"Bruce Nauman's art is about heightened awareness, awareness of spaces we usually don't notice (the one under the chair, out of which he made a sculpture) and sounds we don't listen for (the one in the coffin), awareness of emotions we suppress or dread... It's hard to feel indifferent to work like his." -- Michael Kimmelman, New York Times

One of America's most important artists, Bruce Nauman has worked in a dazzling variety of media since the mid-1960s: sculpture, photography, performance, installation, sound, holography, film, and video. What has been a constant throughout his career, however, is his persistence in exploring both art as an investigation of the self and the power of language to define that self.

The latest volume in the acclaimed Art + Performance series is the first book to combine the key critical writings on Nauman with the artist's own writings and interviews with him, as well as images of his work. Bruce Nauman offers a multifaceted portrait of an artist whose determination to experiment with style and form has created a body of work as eclectic and perhaps more influential than that of any other living American artist.

Videography: p. 379-[386].

Includes bibliographical references (p. [387]-388).

I. Essays -- II. Reviews -- III. Interviews -- IV. Artist's writings.

"One of America's most important artists, Bruce Nauman has worked in a dazzling variety of media since the mid-1960s: sculpture, photography, performance, installation, sound, holography, film, and video. What has been a constant throughout his career, however, is his persistence in exploring both art as an investigation of the self and the power of language to define that self. The latest volume in the acclaimed Art + Performance series is the first book to combine the key critical writings on Nauman with the artist's own writings and interviews with him, as well as images of his work. Bruce Nauman offers a multifaceted portrait of an artist whose determination to experiment with style and form has created a body of work as eclectic and perhaps more influential than that of any other living American artist. "From the beginning I was trying to see if I could make art that did that. Art that was just there all at once. Like getting hit in the face with a baseball bat. Or better yet, like getting hit in the back of the neck. You never see it coming; it just knocks you down. I like that idea very much: the kind of intensity that doesn't give you any trace of whether you're going to like it or not." Bruce Nauman. "Bruce Nauman's art is about heightened awareness, awareness of spaces we usually don't notice (the one under the chair, out of which he made a sculpture) and sounds we don't listen for (the one in the coffin), awareness of emotions we suppress or dread... It's hard to feel indifferent to work like his." Michael Kimmelman, New York Times " -- Back cover.

Table of contents provided by Syndetics

  • Acknowledgments (p. xi)
  • Bruce Nauman: An Introductory Survey (p. 1)
  • I Essays
  • PheNAUMANology (1970) (p. 21)
  • From Hand to Mouth to Paper to Art: The Problems of Bruce Nauman's Drawings (1988) (p. 28)
  • Artist of the Showdown (1989) (p. 36)
  • Sounddance (1988) (p. 43)
  • A Question of Public Interest (1990) (p. 70)
  • The Nauman Phenomenon (1990) (p. 78)
  • Alienation of the Self, Command of the Other (1991) (p. 86)
  • Raw Material (1993) (p. 90)
  • The Trouble with Nauman (1994) (p. 100)
  • Nauman: Good and Bad (1994) (p. 108)
  • Surveying Nauman (1994) (p. 116)
  • Bruce Nauman (1995) (p. 146)
  • Flashing the Light in the Shadow of Doubt (1995) (p. 155)
  • Circling Oblivion/Bruce Nauman through Samuel Beckett (1997) (p. 163)
  • Dance With the Law (1999) (p. 174)
  • II Reviews
  • Only Connect: Bruce Nauman (1982) (p. 191)
  • Identity: Representations of the Self (1989) (p. 195)
  • Assault and Battery, Surveillance and Captivity (1989) (p. 198)
  • Bruce Nauman (1989/90) (p. 203)
  • Bruce Nauman (1991) (p. 206)
  • Space Under a Chair, Sound from a Coffin (1994) (p. 208)
  • Return of the Galisteo Kid (1994) (p. 212)
  • Nauman Was the Man to Watch (1994) (p. 214)
  • Watch Out! It's Here! (1994) (p. 217)
  • Bruce Nauman (1994) (p. 221)
  • Bruce Nauman (1995) (p. 224)
  • Bruce Nauman (1995) (p. 227)
  • III Interviews
  • Two Interviews (1970) (p. 233)
  • Interview with Bruce Nauman (1987) (p. 262w)
  • Breaking the Silence (1988) (p. 270)
  • Talking with Bruce Nauman (1989) (p. 285)
  • Ways of Seeing: The Warped Vision of Bruce Nauman (1995) (p. 310)
  • IV Artist's Writings
  • Performance (Slightly Crouched) (1968) (p. 317)
  • Notes and Projects (1970) (p. 318)
  • Microphone/Tree Piece (1971) (p. 322)
  • Flayed Earth/Flayed Self (Skin/Sink) (1974) (p. 323)
  • Instructions (1974) (p. 326)
  • Cones/Cojones (1975) (p. 328)
  • False Silences (1975) (p. 331)
  • The Consummate Mask of Rock (1975) (p. 333)
  • Good Boy Bad Boy (1985) (p. 337)
  • Violent Incident (1986) (p. 340)
  • Biography (p. 343)
  • Videography (p. 379)
  • Select Bibliography (p. 387)
  • Contributor Notes (p. 389)

Author notes provided by Syndetics

Robert C. Morgan is an internationally known critic, artist, and art historian who lives in New York. He is currently an adjunct professor in the department of fine arts at Pratt Institute. He is a contributing editor for Sculpture Magazine and Tema Celeste , and the editor of the Art + Performance volume Gary Hill , also available from Johns Hopkins.

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