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4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life Ocula Report 4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life 15 Feb 2019 : Natalie King for Ocula

'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...

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Ellen Altfest Ocula Conversation Ellen Altfest

The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...

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Colomboscope 2019: Cross Currents and Dissonance Ocula Report Colomboscope 2019: Cross Currents and Dissonance 8 Feb 2019 : Nada Raza for Ocula

On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...

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Related Press

Bruce Nauman at Museum of Modern Art and MoMA PS1

Dore Bowen First published on 1 January 2019

Bruce Nauman: Sex and Death by Murder and Suicide (1985). Neon tubing mounted on aluminum. 77 15/16 by 78 3/8 by 12 5/8 inches. Exhibition view: Bruce Nauman, Disappearing Acts, MoMA PS1 (21 October 2018–25 February 2019). © Bruce Nauman/Artists Rights Society (ARS), New York.

Bruce Nauman provokes mixed emotions by creating situations rather than presenting figures for us to fear, pity, or empathize with. His artworks position us not as viewers but as participants, often unwilling. These situations vary in effect from pleasurable to nearly intolerable, as evidenced by the 170 works featured in the artist's mammoth retrospective at the Museum of Modern Art and MoMA PS1, "Bruce Nauman: Disappearing Acts." Get Out of My Mind, Get Out of This Room (1968), a sound installation in which Nauman's voice is heard growling the work's title in an empty room illuminated by a hanging light bulb, is unbearable.

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