It is neither easy nor especially relaxing to spend time with Nauman.
Disappearing Acts finds a balance between the harmlessly nonsensical and the strangely aggressive parts of the artist’s body of work, thus creating a more palatable Bruce Nauman.
Much of the artworks for sale emanated a darkly satirical message this past weekend.
When I visited Johns a few months ago, I saw two works that led me on a search for paintings that did not neatly fit in with his larger oeuvre.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
As much as we might feel that our lives are lived these days at breakneck speed, Bruce Nauman’s work suggests otherwise. “Films,” for Nauman, “are about seeing.”
In a new work by the artist, what stands out is an inescapable contrast between the older and younger Nauman.
Clickhole, the Onion’s clickbait-parodying spin-off, is producing some of the best video art on the internet.
PARIS — Bruce Nauman at the Fondation Cartier is a hip, hodgepodge mini-retrospective, curated by Hervé Chandè, that sets an array of Nauman’s works against each other, ranging from the ’80s to the rather recent.
PARIS — Pliure (meaning “fold” in French) is a book-based small show, tastefully curated by Paulo Pires do Vale, about the artistic metamorphosis of books (those folded paper things).
Relatively speaking, Keith Sonnier’s interest in the connections between nature and technology has a long history. His early minimal-style, classical neons from 1968–1970 have a highly reductive, classical, nearly stoic appearance. The more recent formulations, though extravagantly tactile, were less evident in the beginning.
[This post has been corrected, see below for details]
Just as Pope Francis begins his tenure at the head of the Catholic Church, the announcement comes that the Vatican will finally have its own pavilion at the Venice Biennale, themed around the Book of Genesis.