February 11, 2007 |
"A Rose Has No Teeth: Bruce Nauman in the 1960s" is on view at the UC Berkeley Art Museum through April 15. * Bruce Nauman once did an installation in which, just as you catch a glimpse of yourself on a video monitor when you enter, the screen goes blank. (The image is a delayed feed from a camera outside the entrance.) This piece is a perfect distillation of his idea that all art is ephemeral, and so are you. A lot of Nauman's art has been a similar disappearing act.
October 12, 2004 |
It is one of the world's biggest interior art spaces, and American artist Bruce Nauman has filled it with nothing -- nothing, that is, except noise. Nauman, 62, who says his sound works are inspired by avant-garde composer John Cage, has created what amounts to a sonic shower in the cathedral-sized Turbine Hall of London's Tate Modern art gallery.
June 9, 2004 |
American artist Bruce Nauman is one of the five winners of the 16th annual Praemium Imperiale art awards officially announced Tuesday at the Japanese Embassy in Berlin. The awards carry prizes of 15 million yen -- approximately $135,000 in U.S. dollars -- and recognize a lifetime achievement in arts categories that are not covered by the Nobel Prize.
March 6, 1995
Regarding Ernest Fleischmann's article, "Arts Are at the Nation's Soul" (Calendar, Feb. 20): From time immemorial, art flourished when it was supported and languished when not. The support came from the wealthy patrons, the church, the monarchy, the feudal lords, from Pericles, from the Medicis, from the rich literati and so on. All but for a price. The art had to please the donors, the sponsors, the mentors. When not, the cornucopia dried up. Now, in modern societies, we have a new kind of patronage, the educated public that insists on getting its tax dollar's worth.
August 21, 1994 |
A principal convention of mod ern culture says that true art asserts individual identity, which is hidden behind a surface facade that is, in fact, a mere illusion. So, the artist's job is to go beyond outward appearance to reveal that hidden self.
July 31, 1994
I have always enjoyed Peter Plagens' fanciful and witty writing. But I have never considered his opinions the definitive statement of contemporary art history. I'd like to expand on his use of the theater, cast-of-characters and basketball metaphors in his article on Bruce Nauman ("An Artist and His Roots," July 17): The first act of my play would be over in an instant. Donald Judd and Ed Kienholz would be dead. Bruce Nauman, his retrospective over, would fade away and disappear in a neon-lit stage.