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Bruce NaumanSuck Cuts1973
1973
About the Item
Lithograph on Arjomari paper. Printer's proof, aside from the edition of 34. Signed, dated and inscribed "P. P. II" in pencil by Nauman. Printed and published by Gemini G.E.L., Los Angeles, with the ink stamp verso.
Expert repairs in lower right corner and along lower right sheet edge, not affecting the image; minor tears at edges and pale staining in upper left; adhesive residue with associated skinning at the upper edge, verso, otherwise in overall good condition.
- Creator:Bruce Nauman (1941, American)
- Creation Year:1973
- Dimensions:Height: 38 in (96.52 cm)Width: 31 in (78.74 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Catalogue reference: Cordes 17.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU147729457942
Bruce Nauman
Life and work - via Wikipedia Bruce Nauman (American, b. 1941) In the 1960s, Nauman began to exhibit his work at Nicholas Wilder's gallery in Los Angeles and in New York at Leo Castelli in 1968 along with early solo shows at the Los Angeles County Museum of Art and the Whitney Museum in 1972. Nauman's use of neon as a medium recurs in his works over the decades. He uses neon to make allusions to the numinous connotations of light, similar to Mario Merz, who used neon to bring new life to assemblages of mundane objects. Neon also connotes the public atmosphere by the means of advertising, and in his later works he uses it ironically with private, erotic imagery as seen in his Hanged Man (1985). His Self Portrait as a Fountain (1966) shows the artist spouting a stream of water from his mouth. At the end of the 1960s, Nauman began constructing claustrophobic and enclosed corridors and rooms that could be entered by visitors and which evoked the experience of being locked in and of being abandoned. A series of works inspired by one of the artist's dreams was brought together under the title of Dream Passage and created in 1983, 1984, and 1988. In his installation Changing Light Corridor with Rooms (1971), a long corridor is shrouded in darkness, whilst two rooms on either side are illuminated by bulbs that are timed to flash at different rates. Since the mid-1980s, primarily working with sculpture and video, Nauman developed disturbing psychological and physical themes incorporating images of animal and human body parts, depicting sadistic allusions to games and torture together with themes of surveillance. In 1988, after a hiatus of nearly two decades focused on time-based media, he resumed his work with cast objects.
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