Frieze Masters Viewing Room
7 – 16 October 2020
Bruce Nauman
Frieze Masters Viewing Room
7 – 16 October 2020
Bruce Nauman
Left: Untitled [Hand Pair], 1996
Right: Drawing for UCLA Exhibition Poster (Studio Aids for UCLA), 1967
Sperone Westwater is pleased to present a focused selection of classics by renowned American artist Bruce Nauman. Since the late 1960s, Nauman has consistently questioned what an artwork is, adopting a wide range of diverse media, including language, sculpture, drawings, prints, sound, film, video, neon, holograms and 3D technology. Our presentation includes vintage drawings, prints, sculptures such as Untitled [Hand Pair] (1996) and the videos Violent Incident: Man-Woman Segment (1986) and Setting a Good Corner (1999). For more information, please contact Angela Westwater or Maggie Waterhouse or click "Inquire" below.
![Bruce Nauman
Untitled [Hand Pair], 1996
white bronze with painted steel base
55 3/8 x 12 x 12 inches (140,7 x 30,5 x 30,5 cm)
edition 2/2
SW 97337
 ](https://img.artlogic.net/w_150,h_150,c_limit/exhibit-e/5e8c9b33a5aa2c1b5f8b4567/6fd9221a0f51775d42a25a7fcc1fe586.jpeg)
![Bruce Nauman
Untitled [Hand Pair], 1996
white bronze with painted steel base
55 3/8 x 12 x 12 inches (140,7 x 30,5 x 30,5 cm)
edition 2/2
SW 97337
 ](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8c9b33a5aa2c1b5f8b4567/6fd9221a0f51775d42a25a7fcc1fe586.jpeg)
![Bruce Nauman
Untitled [Hand Pair], 1996
white bronze with painted steel base
55 3/8 x 12 x 12 inches (140,7 x 30,5 x 30,5 cm)
edition 2/2
SW 97337
 ](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8c9b33a5aa2c1b5f8b4567/6fd9221a0f51775d42a25a7fcc1fe586.jpeg)
Bruce Nauman
Untitled [Hand Pair], 1996
white bronze with painted steel base
55 3/8 x 12 x 12 inches (140,7 x 30,5 x 30,5 cm)
edition 2/2
SW 97337
Bruce Nauman
Drawing for UCLA Exhibition Poster (Studio Aids for UCLA), 1967
graphite on paper
17 x 14 inches (43,2 x 35,6 cm)
22 5/8 x 19 3/8 inches (57,5 x 49,2 cm) frame
SW 80160
Bruce Nauman
Studies for Holograms (a-e), 1970
portfolio of five screenprints
26 x 26 inches (66 x 66 cm) each sheet
(a) pinched lips, 100/150; (b) pulled lower lip, 42/150; (c) pinched cheeks, 71/150; (d) pulled neck, 1/150; (e) pulled lips, 1/150
SW 19328
Bruce Nauman
Untitled, 1969
2 color offset lithograph on 100 lb. Kromekote paper
24 1/4 x 20 inches (61,6 x 50,8 cm)
SW 18149
Bruce Nauman
Cockeye Lips from Infrared Outtakes; Neck Pull from Infrared Outtakes; Hands Only from Infrared Outtakes; Opened Eye from Infrared Outtakes, 1968/2006
Epson Ultrachrome K3 inkjet prints
four parts; 19 x 28 inches (48,3 x 71,1 cm) each
22 1/2 x 31 1/2 inches (57,2 x 80 cm) each frame
edition 20/60
SW 06362a-d
Bruce Nauman
Untitled (Study for Installation with Yellow Lights (Castelli Installation with Yellow Lights)), 1971
graphite and colored pencil on paper
18 x 24 inches (45,7 x 61 cm)
20 5/8 x 26 5/8 inches (52,4 x 67,6 cm) frame
SW 97296
Bruce Nauman
Project for Blue and Yellow Corridor, 1971
graphite and pastel on paper
diptych; 18 x 24 inches (46 x 61 cm) each
27 1/4 x 33 1/4 inches (69 x 84,5 cm) each frame
SW 19201a
Bruce Nauman
Project for Blue and Yellow Corridor, 1971
graphite and pastel on paper
diptych; 18 x 24 inches (46 x 61 cm) each
27 1/4 x 33 1/4 inches (69 x 84,5 cm) each frame
SW 19201b
Bruce Nauman
Untitled (Study for Model for Underground Space: Saucer), 1968-72
graphite, chalk pastel and ink on paper
23 x 29 inches (58,4 x 73,7 cm)
25 5/8 x 31 5/8 inches (65 x 80 cm) frame
SW 97299
Bruce Nauman
Raw-War, 1971
lithograph in colors on Arches
22 1/4 x 28 1/4 inches (56,5 x 71,8 cm)
24 1/4 x 30 inches (61,6 x 76 cm) frame
edition 13/100
SW 04291.13
Bruce Nauman
Suposter, 1972
three-color lithograph/silkscreen
36 1/8 x 29 3/4 inches (91,8 x 75,6 cm)
edition of 72, AP I/XII
SW 17240
Bruce Nauman
Doe Fawn, 1973
lithograph
32 x 44 1/2 inches (81 x 113 cm)
35 x 48 inches (89 x 122 cm) frame
edition 28/50
SW 17239.28
Bruce Nauman
Life Mask, 1981
lithograph printed on Arches Cover paper
28 x 38 inches (71,1 x 96,5 cm)
30 x 40 inches (76,2 x 101,6 cm) frame
edition 19/50
SW 09081.19
Bruce Nauman
Malice, 1980
lithograph
29 1/2 x 41 1/4 inches (74,9 x 104,8 cm)
35 x 46 3/4 inches (88,9 x 118,7 cm) frame
edition 44/75
SW 83129.44
Bruce Nauman
Earth - World, 1985
lithograph
30 x 44 inches (76 x 112 cm)
32 1/2 x 47 inches (82,5 x 119 cm) frame
edition 25/25
SW 13323.25
Bruce Nauman
Frankfurt Portfolio, 1990
offset lithograph
four parts; 19 1/8 x 13 1/4 inches (48,5 x 34 cm) each
30 x 21 3/4 x 1/2 inches (76 x 55,2 x 1,3 cm) each frame
edition 6/35
SW 17340a-d.6
Bruce Nauman
Violent Incident: Man-Woman Segment, 1986
videotape (color, sound)
30 min.
edition 57/200
SW 95095.57
Click here to watch online
Bruce Nauman
Setting a Good Corner (Allegory & Metaphor), 1999
DVD (color, sound)
59:30 min.
edition 3/40
SW 00144.3
Click here to watch online
Bruce Nauman
Clown Taking a Shit, 1988
lithograph in colors, on Transpagra paper
42 x 30 inches (106,7 x 76,2 cm)
51 1/4 x 39 inches (130 x 99 cm) frame
edition 31/35
SW 95369.31
Bruce Nauman
Caned Dance, 1973
paper collage and graphite on paper
7 3/4 x 8 1/8 inches (19,7 x 20,6 cm)
15 1/2 x 15 3/4 inches (39,4 x 40 cm) frame
SW 18012
Bruce Nauman
SUGAR/ RAGUS/ RACUS/ SUCAR/ RAGUS/ SUGAR/ GUSAR, 1973
pencil and presstype
23 x 29 inches (58 x 74 cm)
32 1/2 x 38 1/2 inches (85,5 x 98 cm) frame
SW 15132
Studies for Holograms (a-e), 1970
Concurrent with Frieze Masters, Tate Modern is presenting a Bruce Nauman survey, the first in London in more than 20 years exploring the breadth of his work. The solo includes more than 40 works, exploring the distinctive themes that have preoccupied Nauman during his remarkable 50-year career. The opening room presents visitors with MAPPING THE STUDIO II with color shift, flip, flop & flip/flop (Fat Chance John Cage) (2001), a major moving-image installation that embodies Nauman’s radical re-examination of the rarefied space of the artist’s studio. A selection of early and iconic artworks such as Henry Moore Bound to Fail (1967/70) and A Cast of the Space Under My Chair (1965-68) highlights Nauman’s conceptual and often performative approach towards sculpture, the body and studio practice. Other major works include Good Boy Bad Boy (1985), Double Steel Cage Piece (1974), Anthro/Socio (Rinde Spinning) (1992) and Clown Torture (1987) and highlight Nauman’s distinctive preoccupations and how he incessantly revisits them – yet never repeats himself.
Two Leaping Foxes, 2018
Sperone Westwater has on view now a Bruce Nauman show of three new unique works: two video installations, Nature Morte (2020) and Walking a Line (2019), and one large-scale sculpture, Two Leaping Foxes (2018). For Nature Morte, Nauman recorded hundreds of images documenting all parts of the studio which viewers are able to explore using an iPad. By simply touching and dragging their finger on the screen, participants can scrutinize and examine every corner and object of the studio revealing notes from previous artworks, books, coffee cups, vinyl records, tools, etc. In the 3D video Walking a Line (requiring 3D glasses), Nauman extends his arms out to the side and places one bare foot carefully in front of the other, proceeding in a straight line. In the editing, his body is divided in half, creating asymmetry with each turn-- sometimes his lower body turns around, revolving 180 degrees before the upper half catches up, sometimes completely walking out of the frame. Two Leaping Foxes is an inverted pyramid of animal sculptures made of the same polyurethane foam used in taxidermy. Each form is strange and mutated— although they are not real animals, the eye recognizes them as caribou, deer, and foxes.
Bruce Nauman at Sperone Westwater, September 2020.
Photograph © George Etheredge
Born in Fort Wayne, Indiana in 1941, Bruce Nauman received his BS from the University of Wisconsin, Madison (1964) and his MFA from the University of California, Davis (1966). Nauman is widely regarded as among the most important living American artists and as a catalyst for the shift in international artistic practice toward conceptual and performative uses of language and the body. Since his first solo gallery show in 1966, Nauman has been the subject of many notable museum exhibitions, including a survey organized by the Los Angeles County Museum of Art and the Whitney Museum of American Art (1972-73) and a survey at the Whitechapel Art Gallery, London in collaboration with the Kunsthalle Basel and the Musée d’Art Moderne de la Ville de Paris (1986-87). A major retrospective, co-organized by The Walker Art Center and the Hirshhorn Museum, opened at the Museo Nacional Centro de Arte Reina Sofia, Madrid, and travelled to the Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; and Kunsthaus Zurich (1993-95). Other important solo exhibitions include “Raw Materials,” commissioned for Tate Modern’s Turbine Hall (2004); “A Rose Has No Teeth: Bruce Nauman in the 1960s” at the Berkeley Art Museum, Castello di Rivoli, and Menil Collection (2007-08); and “Bruce Nauman” at the Fondation Cartier (2015). “Bruce Nauman: Disappearing Acts,” a comprehensive retrospective, debuted at Schaulager, Basel (2018) and traveled to The Museum of Modern Art, New York and MoMA P.S.1 (2018-19). Beginning 7 October, Tate will host a survey which runs through February 2021 before it travels to the Stedelijk Museum, Amsterdam and Pirelli HangarBicocca, Milan. Nauman received the Wolf Foundation Prize in Arts in 1993, the Wexner Prize in 1994, the Golden Lion at the 48th Venice Biennale in 1999, and the Praemium Imperiale in 2004 in Japan. Nauman represented the United States at the 2009 Venice Biennale; the pavilion was awarded the Golden Lion for Best National Participation. Nauman was the 2014 laureate of the Austrian Frederick Kiesler Prize. Since his first exhibition at Sperone Westwater in 1976, Nauman has exhibited regularly at the gallery (1982, 1984, 1988, 1989, 1990, 1996, 2002, 2008, 2010, 2013, 2016 and 2020).
For more information about Bruce Nauman, click here to visit our website.