"Even his loudest, most outsized art feels personal, sourced from extreme emotions we all feel — panic, despair, disgust, hilarity." – @nytimes. ... Bruce Nauman has spent half a century inventing forms to convey both the moral hazards and the thrill of being alive. Employing a tremendous range of materials and working methods, he reveals how mutable experiences of time, space, movement, and language provide an unstable foundation for understanding our place in the world. We're open tomorrow #MLKDay from noon to 6 p.m. Plan a visit to #BruceNauman: Disappearing Acts on view at MoMA PS1 through February 25 and @themuseumofmodernart through February 18: mo.ma/brucenauman. ... Bruce Nauman. "Beating with a Baseball Bat." 1986. Udo and Anette Brandhorst Collection. Photograph by Martin Seck.
📺➡️📺 The perils of binary thinking occupied Nauman for much of the 1980s. In “Good Boy Bad Boy,” two professional actors recite a litany of phrases, like broadcasters delivering the nightly news. Each performs five rounds of the same scripted statements in varying tones of voice, conveying anger, scorn, amusement, passion, impatience, consternation, and glee. The woman will recite, "I am evil. You are evil. We are evil. This is evil." Meanwhile, the man on the opposite screen yells, "I don't want to die. You don't want to die. This is fear of death.” ... UPDATE: due to unforeseen circumstances, the #BruceNauman gallery talk with Carolyn Lazard on Sunday, January 20, will be canceled.
There's only one more month to see #BruceNauman: Disappearing Acts in full at both MoMA and MoMA PS1: "an awe-inspiring feat of exhibition-making, with more than 150 artworks reminding us of Nauman’s groundbreaking genius.” ... “Nauman is one of the most inventive and imaginative cultural figures of the past half century, an artist who not only changed our idea of what art could be, but did so again and again and again." Read the full @apollomagazine review at mo.ma/more ... The exhibition closes on February 18 at @themuseumofmodernart and February 25 at MoMA PS1: mo.ma/brucenauman
"His work, exploring the dark corners of humanity, raises powerful questions concerning the state of a country in which mass shootings, jingoism, sexual assault, police brutality, xenophobia, political deception, greed, and privation are prevalent. By refusing to prettify the nature of human existence, and by interrogating the way people act when alone, with each other, and in uncomfortable scenarios, Nauman might inadvertently provide hope for those seeking a way to understand our current situation." Read the full @artinamerica review at mo.ma/more ... #BruceNauman: Disappearing Acts is on view at MoMA PS1 through February 25 and @themuseumofmodernart through February 18. mo.ma/brucenauman Photo by Walter Wlodarczyk
“We have cultivated a practice of accessing our subconscious minds to build useless machines, elliptic floor patterns, and blob bodies inside an abyssal carpet pocket.” ... #VWSundaySessions artists Laurel Atwell (@spooky_action.tif) and Jessica Cook (@jesicoook) present a brand new performance to mark the culmination of their residency Sunday at 3 p.m. A workshop of emerging ideas, "Tundra Body Baby" merges the New York-based choreographers' separate creative processes, harnessing the architecture of the VW Dome: mo.ma/openstudio ... Now in its third year, the VW Dome Artist Residency offers artists space, time, and resources to generate new ideas and experiment. The open format allows artists to create new content, collaborate, workshop new gestures or concepts, and respond directly to the unique space of the VW Dome.
In Nauman’s recent work, the artist submits his aging body to a variety of prosaic activities and tasks. “Thumb Start” (2013), superimposes images to simulate the rudimentary optical effect of the floating finger. The projected image is a double illusion, the disembodied hands seem to levitate the detached fingers between them—an eerie figment. ... This work is on view at MoMA PS1 in #BruceNauman: Disappearing Acts. Presented in two parts, the show continues in midtown at @themuseumofmodernart: mo.ma/brucenauman
Nauman often pushes language to the brink of abstraction. His signature offered a way to put himself in the work while distorting his identity. The neon “My Last Name Exaggerated Fourteen Times Vertically,” (1967), alters his name beyond recognition; the elongated letters all but disappear into a jumble of lavender lines. ... Presented at both @themuseumofmodernart and MoMA PS1, #BruceNauman: Disappearing Acts is the most comprehensive exhibition of Nauman's work ever assembled. On view through February: mo.ma/brucenauman
"Art became more of an activity and less of a product.” ... #BruceNauman staged the first performance of “Wall-Floor Positions” in 1965 while attending the University of California, Davis. Crouching, leaning, lying prone, arms splayed and legs extended, he directly engaged with the architecture of the room as he cycled through a sequence of basic movements, highlighting the intimate link between the self and the space it inhabits. ... See rare live performances of this work every hour on the hour at @MoMAPS1 every Friday and Saturday, 1:00–5:00 p.m. and at @themuseumofmodernart every Thursday and Sunday, 12:00–4:00 p.m. More info: mo.ma/wallfloor
New year, new art. The #VWSundaySessions live performance series continues in 2019 with more performance, music, dance, conversation, and film: moma.org/sundaysessions. ... Highlights include the inaugural Black Women’s Film Conference with New Negress Film Society (@newnegressfilmsociety), a Vaquera (@vaquera.nyc) fan fiction rendition of Wicked, a live tattoo performance with Doreen Garner (@tita_luchini), and the acclaimed #ComeTogetherFest music festival and label market with @other_music and more than 75 record labels—now a weekend-long event. ... VW Sunday Sessions and the VW Dome at MoMA PS1 are made possible by a partnership with Volkswagen of America, who have supported the program since its inception. Major support is provided by the Anna-Maria and Stephen Kellen Foundation. Dance programming as part of VW Sunday Sessions at MoMA PS1 is supported in part by the Mertz Gilmore Foundation. #VWGroupCulture@volkswagengroup_culture
Bbbbbbbbbbrrrrrrrrrruuuuuuuuuucccccccccceeeeeeeeee ... Abstractions of the self occupied Nauman throughout the mid-1960s, when he often used his own body or signature as “a place to start.” “My Name as Though It Were Written on the Surface of the Moon,” (1968) repeats each letter of his name 10 times, stretching it nearly to the point of illegibility. On view at MoMA PS1, Thursday through Monday, noon to 6 p.m. mo.ma/brucenauman