The Allure of Matter: Material Art from China at Los Angeles County Museum of Art (LACMA) (2 June 2019–5 January 2020) is an inter-generational show of 21 Chinese artists working from the 1980s to the present, including Ai Weiwei, Cai Guo-Qiang, Lin Tianmiao, Song Dong, He Xiangyu, Yin Xiuzhen, and Ma Qiusha.Staged on Level 2 of LACMA's Renzo...
When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...
To coincide with Art Basel 2019, which opens to the public from 13 to 16 June, galleries and institutions across the city are presenting a range of stellar exhibitions. From Rebecca Horn at Museum Tinguely to Geumhyung Jeong at Kunsthalle Basel, here is a selection of what to see.William Kentridge, Dead Remus (2014–2016). Charcoal on found ledger...
Bruce Nauman, Untitled (1967). Wax over plaster with rope. 43 x 66 x 11.5 cm. Courtesy: Daros Collection, Switzerland, © Bruce Nauman / 2018, ProLitteris, Zurich.
Bruce Nauman, 'Disappearing Acts'
17 March – 26 August
The Schaulager enjoys immense resources; its founder, Maja Oeri, a trustee of the Museum of Modern Art, New York, and a major donor to its collection, is honoured with a MoMA gallery in her name. Bruce Nauman's detailed survey exhibition, created in collaboration with that New York institution, where it will subsequently travel, is arguably the best use of the Schaulager's ample space and art historical means since the museum opened in 2003. In gallery after gallery of drawings, sculptures, installations, video and sound pieces and immersive environments, Nauman is revealed as a foresighted observer and actor in the art field, one who also maintained a healthy disregard for that world. Take away his material, and what does an artist do?
Bruce Nauman likes to work in isolation on his farm, removing himself from the buzzing chatter of city life and the art world. His practice is shaped by personal interests such as ethics, politics, the body and language. Although he works across a range of media such as video installation, performance, sculpture, neon and photography, he is known as a conceptual artist whose work often unsettles his audience, making them aware of their own physical bodies and beliefs.
Nauman’s neon pieces—some of his most famous works—often explore the semantic possibilities and visual puns that occur when rearranging letters, such as Perfect Door/Perfect Odor/Perfect Rodo (1972) and Run from Fear, Fun from Rear (1972). Through this process of infusing satirical and absurd meaning into language, viewers begin to consider the role of semantics and the language of politics.
However, Nauman’s meaning is not always discovered immediately—viewers must dig deep to gauge his intention. When successful, onlookers are rewarded with themes that are pertinent to the everyday and range from life and death to spirituality and ethics. For those who do not dig deeper and instead take Nauman’s work at face value, other issues regarding the artist’s intent and misrepresentation surface. This is what the artist wants to be considered. The processes of art-making and transformation and the question of art’s purpose become relevant factors. Nauman’s work also references extreme mental states: despair, glee, humiliation, humour and hostility, to name a few.
Though Nauman’s work is associated with Minimalism, he does not conform to the fastidious finish and slickness often seen within the movement. Instead, his works seem crude or haphazard. Nauman also jumps between different media and style. This versatility has made Nauman all the more engaging and his work all the more challenging. For these reasons he is considered one of the most influential and prominent American artists today.
Nauman spent his childhood moving around various Midwestern locations. He graduated in 1964 from the University of Wisconsin, Madison with a bachelor’s degree in science and a minor in painting. That year he gave up painting and began experimenting with sculpture and performance art and collaborating on film projects. In 1966, he received an MFA from the University of California, Davis. His teachers there were working in sculpture outside its norms of the time, leading him to question his understanding of art and critique prominent methods and styles. From this, Nauman came to understand art as less of a product and more of an activity—asserting that anything made in an artist's studio could be art. Capturing 'performed actions', between 1966 and 1970, he worked extensively with video, focusing on behavioural codes of the body that went on to influence the next generation of video artists. Shot in real time, he produced a number of these works between his two studios in San Francisco and Mill Valley, California.
This year, all Koreans at the Venice Biennale are women. The Korean Pavilion is curated by Kim Hyun-jin and three participating artists Jung Eun-young, also known as siren eun young jung, Jane Jin Kaisen and Nam Hwa-yeon. At the main exhibition, the works of three Korean women artists Lee Bul, Suki Seokyeong Kang and Anicka Yi are on view.
'My work', Bruce Nauman told Art in America in 1988, 'comes out of being frustrated about the human condition.' Black radical aesthetics and criticism prefigured my encounter with Disappearing Acts, the artist's retrospective survey at the Museum of Modern Art and MoMA PS1 in New York, which was first mounted at The Schaulager last summer in...
Somewhere in a maze of picket fences, golf greens and lakes, Vero Beach's The Gallery at Windsor is a remote haven for British art world patricians. It's currently two years into a partnership with London's Royal Academy of Arts, which annually brings a celebrated artist to the Atlantic coastline to exhibit.
Does it vex you, the environmental impact of Olafur Eliasson's Ice Watch? Do you hear about the transportation of 30 icebergs from the Nuup Kangerlua fjord in Greenland to be displayed in London as a memento mori for our inhabitable environment and judge the project a bit of an own-goal, sustainability-wise? You would not be alone – on personal...
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