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Text: English (translation) Original Language: French

Bruce Nauman has been a force in the art world since the early 1960s with his challenging audio and video installations, photographic art, neon art, and sculptures. However, until now there has been surprisingly little sustained critical analysis of his extraordinary oeuvre. Nauman Reiterated offers the first scholarly assessment of the artist’s production with an in-depth thematic investigation of key works created between the mid-1960s and mid-1970s. Janet Kraynak argues that the coherence of Nauman’s art can be found not in conventional categorizations of style, medium, or technique, but through understanding the artistic and cultural conditions that led to an interdisciplinary aesthetic of performance, which emerged in relation to technologies of reproduction, inscription, and recording. Kraynak provides a portrait of an artist who regularly defies expectations and genres, showing how Nauman’s work responds to historical problems that have only increased in importance since he first addressed them, especially the technologization of society initiated by electronic media. Nauman’s reaction to the technological takeover of modern society, Kraynak suggests, is reiteration. Building from these observations, Kraynak explores how performance is intimately associated with the acceleration toward a fully technological society, which sees new modes of electronic recording and reproduction, the growth of information technologies, and the consolidation of technocracy.Through extensive archival research Kraynak has written a revealing examination of Nauman’s thought-provoking and protean work.

Two artists, two generations, of rather differing provenanceSchirn Kunsthalle Frankfurt is dedicating a comprehensive exhibition to the surprising and hitherto largely overlooked connections in the work by Alberto Giacometti (1901–1966) and Bruce Nauman (* 1941). Drawings, photographs, videos, sculptures and large-scale installations by the US multimedia artist will enter into an exciting dialogue with selected sculptures and paintings by the Swiss sculptor. Both artists’ oeuvre revolves primarily around the image of man and the human condition; with reduced means of representation, they’re both looking to explore fundamental existential questions. The shattering directness of the works of art presents the viewer with a lasting challenge. Giacometti and Nauman share a procedural approach as well as subjects, such as the representation of emptiness, the relationship between figure and space, and the fragmented body. In a thematically landscaped layout, the exhibition brings together about 70 works, including numerous major works by both artists. The outcome of this juxtaposition is by no means foregone: Giacometti emerges as a pioneer of key developments in art after 1960, regaining his original radicalism, while Nauman’s outstanding importance as a sculptor becomes apparent, achieving an alternative historical significance. The exhibition does not endeavor to confirm or even endorse influences and overarching theories, but rather expands our perception of the work of two outstanding representatives of 20th and 21st century art.Exhibition: Schirn Kunsthalle Frankfurt, 28/10/2016–22/01/2017

Signs of wear and consistent use.

Bruce Nauman (born 1941) emerged in the late 1960s Los Angeles art scene, as part of a generation of artists who dramatically expanded the possibilities of sculpture and performance. His emergence also coincided with the ascent of gestalt psychology, behaviorism and philosophers following in the wake of Wittgenstein’s philosophies of language. Nauman’s work is thus deeply literate and steeped in the history of psychology--particularly Freud’s work on puns and slips of the tongue, in The Psychopathology of Everyday Life, work that Nauman has explored in numerous language pieces using oxymorons, puns and Spoonerisms. Bruce Nauman: Mindfuck is the first publication to look at this celebrated artist’s work in performance, drawing, video, printmaking and neon installation, in the light of its relationship to psychology.

Softcover. Good binding and cover. Shelf wear. Light foxing to edges. Pages unmarked. This is an oversized or heavy book, which requires additional postage for international delivery outside the US.

Those who haven't heard of Nauman soon will. Art world insiders and distinguished academics invoke the names of Duchamp, Johns, and Man Ray when discussing his work. Nauman's oeuvre of conceptual exploration-whether of his body's mundane movements or of society's ability to perceive-is so singular and diverse as to make any categorization seem hasty. Nauman's visual notions have been realized in such media as photography, drawing, video, neon sculpture, and gallery environments. He is a prolific alchemist endlessly duped by the unsatisfied philosopher in himself. The publication of Bruce Nauman: A Catalogue Raisonne coincides with a major traveling retrospective (Minneapolis, Los Angeles, Washington, New York), yet it is far more than a museum catalog. In addition to the dense illustrated exhibition catalog, this handsome volume contains a 156-page catalogue raisonne and a comprehensive bibliography. The four essays are insightful, scholarly, and rich with background information but tend to focus on the achievement rather than the concept. Since the subject matter will reward those who invest study, on the whole the format is ideal. Though the essays are not uniformly enlightening, their specific references to individual art pieces will at least serve as a trail of crumbs for most readers. Essential for all art collections. Bruce Nauman: 25 Years is a pleasing, if fragile, oversized catalogue containing mostly black-and-white photo-collages of installations and ephemera from the artist's last quarter century with the Leo Castelli Gallery. It includes two foldout color plates and reprints of art magazine reviews. As a companion to the catalogue raisonne, it is somewhat useful for the reviews. On its own, it is merely a souvenir program.Douglas McClemont, New YorkCopyright 1994 Reed Business Information, Inc.

Two artists, two generations, of rather differing provenanceSchirn Kunsthalle Frankfurt is dedicating a comprehensive exhibition to the surprising and hitherto largely overlooked connections in the work by Alberto Giacometti (1901–1966) and Bruce Nauman (* 1941). Drawings, photographs, videos, sculptures and large-scale installations by the US multimedia artist will enter into an exciting dialogue with selected sculptures and paintings by the Swiss sculptor. Both artists’ oeuvre revolves primarily around the image of man and the human condition; with reduced means of representation, they’re both looking to explore fundamental existential questions. The shattering directness of the works of art presents the viewer with a lasting challenge. Giacometti and Nauman share a procedural approach as well as subjects, such as the representation of emptiness, the relationship between figure and space, and the fragmented body. In a thematically landscaped layout, the exhibition brings together about 70 works, including numerous major works by both artists. The outcome of this juxtaposition is by no means foregone: Giacometti emerges as a pioneer of key developments in art after 1960, regaining his original radicalism, while Nauman’s outstanding importance as a sculptor becomes apparent, achieving an alternative historical significance. The exhibition does not endeavor to confirm or even endorse influences and overarching theories, but rather expands our perception of the work of two outstanding representatives of 20th and 21st century art.Exhibition: Schirn Kunsthalle Frankfurt, 28/10/2016–22/01/2017

"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 TimesOne 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.

Softcover, 172 pages, good condition; heavy foxing to covers around spine; light foxing to outer page edges; no internal marks. Foreign shipping may be extra.

"The first authorized monograph on the world–famous sculptor, photographer, and video artist.In Bruce Nauman: The True Artist, Peter Plagens – a renowned writer, critic, and author who has known Nauman for more than forty years – delivers a personal and authoritative account tracing Nauman’s entire career, from his youth in Fort Wayne, Indiana, to his graduate work at the University of California, and through to the present day. Plagens first met Nauman in Pasadena, California, in 1970, where their studios were a block apart and they played basketball together every Sunday. Since then, Plagens has pursued a real understanding of his friend’s art. The book chronicles Nauman’s process, from the creation of works in his New Mexico studio to the organization, installation, and reception of his exhibitions. Throughout, Plagens is a savvy and engaging guide to the work, using his own attempts to puzzle out the meaning of the pieces, as well as the artist’s conversations about them, to offer readers a vivid and enlightening take on one of the key figures in contemporary art."

A close study of Bruce Nauman, the representative of the United States at the 53rd Venice Biennale, in the context of the city where the exhibition takes place One of the most complex and fascinating artists working today, Bruce Nauman (b. 1941) has assembled a mesmerizing body of work that encompasses video, installation, drawing, sculpture, printmaking, photography, and neon. In 2008, Nauman was unanimously selected to represent the United States at the 53rd Venice Biennale, in an exhibition organized by the Philadelphia Museum of Art. The accompanying catalogue explores the interconnections among several specific themes that have recurred prominently throughout four decades of Nauman’s work. Linking the urban texture of Venice to the topological dimensions of his provocative art, the overarching project allows for an unprecedented occasion for the appreciation and exploration of Nauman’s undeniable creativity and influence.Bruce Nauman: Topological Gardens includes texts by Erica Battle and Carlos Basualdo on the organization of the exhibition and the publication, featuring detailed discussions of the works in the show. Michael R. Taylor examines Nauman’s practice in an art-historical context, and Marco de Michelis explores the notion of space as deployed throughout Nauman’s oeuvre, with particular reference to the works on view.

Those who haven't heard of Nauman soon will. Art world insiders and distinguished academics invoke the names of Duchamp, Johns, and Man Ray when discussing his work. Nauman's oeuvre of conceptual exploration-whether of his body's mundane movements or of society's ability to perceive-is so singular and diverse as to make any categorization seem hasty. Nauman's visual notions have been realized in such media as photography, drawing, video, neon sculpture, and gallery environments. He is a prolific alchemist endlessly duped by the unsatisfied philosopher in himself. The publication of Bruce Nauman: A Catalogue Raisonne coincides with a major traveling retrospective (Minneapolis, Los Angeles, Washington, New York), yet it is far more than a museum catalog. In addition to the dense illustrated exhibition catalog, this handsome volume contains a 156-page catalogue raisonne and a comprehensive bibliography. The four essays are insightful, scholarly, and rich with background information but tend to focus on the achievement rather than the concept. Since the subject matter will reward those who invest study, on the whole the format is ideal. Though the essays are not uniformly enlightening, their specific references to individual art pieces will at least serve as a trail of crumbs for most readers. Essential for all art collections. Bruce Nauman: 25 Years is a pleasing, if fragile, oversized catalogue containing mostly black-and-white photo-collages of installations and ephemera from the artist's last quarter century with the Leo Castelli Gallery. It includes two foldout color plates and reprints of art magazine reviews. As a companion to the catalogue raisonne, it is somewhat useful for the reviews. On its own, it is merely a souvenir program.Douglas McClemont, New YorkCopyright 1994 Reed Business Information, Inc.

An insightful examination of Bruce Nauman’s Contrapposto Studies, I through VII, Contrapposto Studies, i through vii, and related works, through both rigorous analysis and the artist’s own words This important publication offers the first in-depth exploration of contemporary artist Bruce Nauman’s (b. 1941) monumental works Contrapposto Studies, I through VII and Contrapposto Studies, i through vii of 2015–16. The book surveys Nauman’s trajectory from his early works, which set clear precedents for experimentation with video and performance, to his latest installations that combine video, sound, and performative elements to create immersive environmental experiences. The essays also address Nauman’s return to the motif of contrapposto, and the use of his own body as a tool and subject for performance. Related works, including Walks In Walks Out and Model for Philadelphia Museum of Art (1'=1"), are considered as well. In the recent interview published here for the first time, Nauman discusses the conception, development, and installation of the Contrapposto Studies, which stand as a testament to his ability to transform simple gestures into grand ruminations on the possibilities of representation.

Briefly traces the artist's career and looks at his work with neon, steel, videotape, photographs, fiberglass, and words

Hardcover without dustjacket as issued, 84 pages; good condition; scattered stains to covers; no internal marks. Foreign shipping may be extra.

"The first authorized monograph on the world–famous sculptor, photographer, and video artist.In Bruce Nauman: The True Artist, Peter Plagens – a renowned writer, critic, and author who has known Nauman for more than forty years – delivers a personal and authoritative account tracing Nauman’s entire career, from his youth in Fort Wayne, Indiana, to his graduate work at the University of California, and through to the present day. Plagens first met Nauman in Pasadena, California, in 1970, where their studios were a block apart and they played basketball together every Sunday. Since then, Plagens has pursued a real understanding of his friend’s art. The book chronicles Nauman’s process, from the creation of works in his New Mexico studio to the organization, installation, and reception of his exhibitions. Throughout, Plagens is a savvy and engaging guide to the work, using his own attempts to puzzle out the meaning of the pieces, as well as the artist’s conversations about them, to offer readers a vivid and enlightening take on one of the key figures in contemporary art."

Briefly traces the artist's career and looks at his work with neon, steel, videotape, photographs, fiberglass, and words

Hardcover without dustjacket, 102 pages; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

"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 TimesOne 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.