布鲁斯·瑙曼认领

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布鲁斯·瑙曼（Bruce Nauman）是一位美国艺术家。他的业务涉及非常广泛，包括雕塑，摄影，霓虹灯，视频，绘画，版画和表演。布鲁斯·瑙曼的大部分作

简介

布鲁斯·瑙曼（BruceNauman）是一位美国艺术家。他的业务涉及非常广泛，包括雕塑，摄影，霓虹灯，视频，绘画，版画和表演。布鲁斯·瑙曼的大部分作品都以对语言的兴趣为特征，通常表现为视觉双关语，他有兴趣将语言的隐喻和描述功能相互对立。在第53届威尼斯双年展上布鲁斯·瑙曼获得了金狮奖，几十年来，布鲁斯·瑙曼一直以霓虹灯为媒介，他用霓虹灯来暗示光的多种含义，在他后来的作品中，都可以看出这种寓意，如他的《上吊的人》中所见。

影视作品

有镜子和白光的走廊

Inhiscorridorpieces,Nauman’ssculptureassumesthedimensionsofarchitecture.Thespacesareoftenclaustrophobicyettheyseemtoextendindefinitely,likeacorridorseeninadream.Here,thesenseofinfiniteextensioniscreatedbyamirrorsetatanangleattheendofthecorridor.Thewidthofthecorridorhasbeennarrowedsothatitisimpossibletowalkthroughit,therebyheighteningthesenseofeerieisolation.

不（黑州）

Nauman''sworkoftenantagonisesordisorients.The''No''ofthislithographisinkeepingwithhisrefusaltooffersolaceoraffirmationtotheviewer.ItsimmediacyalsodemonstrateNauman''songoingcommitmenttomakingwhathedescribesas''artthatwasjustthereallatonce.Likegettinghitinthefacewithabaseballbat.Orbetter,likegettinghitinthebackoftheneck.Youneverseeitcoming;itjustknocksyoudown''.

好男孩坏男孩

BruceNauman’sperformances,filmsandvideoworksoftenuselanguagegamesandrepetitiontoexplorethenatureoflanguageandperception.Inthisworktwomonitorsareplacedatheadheight,sothattheperformersstareoutdirectlyattheviewer.Twoprofessionalactorsrecitethesameseriesofonehundredphrases,beginninginaflattonebutbecomingmoreemotional.Becausetheyaretalkingatdifferentspeeds,theactorsfalloutofstepwitheachother,andthecontinuouslyloopedvideosbecomeoutofsequence.Manyofthestatementsimplymoraljudgementswhich,throughrepetition,seemincreasinglythreatening.BruceNaumanwasborninFortWayne,Indianain1941.HenowlivesandworksinNewMexico.

M 安培

Thisword-imageisoneofanumberofworksinvolvingwordplaycreatedbyNaumanduringthe1970s.Hecomparedmakingthislithographtochisellingstone,tocreateashallowrelief.Naumanhasconnectedhiswordworks,involvinganagrams,palindromesandmirrorimages,tohisinterestintheimagereversalthattookplacewhenheremovedthemouldsfromhisearlyfibreglasssculptures.Thefrequentlydisturbingorambiguousnatureofthesemi-concealedmessagesintheword-worksisincontrasttothespareeleganceoftheimages.Herethemessagediscoveredwithinthelettersisthebrutalphrase'RapeMe'.

布置一个好角落（寓言和隐喻）

SettingaGoodCorner(AllegoryandMetaphor)isasingle-channelvideoworkincolourwithstereosound.Thevideoispresentedonatelevisionmonitorandrunscontinuouslyonaloop.FromastationarypositionthecamerarecordsBruceNaumanashebuildsacornerfenceonhisproperty,LasMadresRanchinNewMexico.Thelandscapeseenwithintheframeofthevideoisflatandfairlydry,withgrasslandandbushesvisibleinthebackground.Thevideoisinrealtimeandrunsforfifty-nineminutesandeighteenseconds,justunderonehour,whichisoneofthestandardlengthsofvideocassettetapes.Whenexhibitedthemonitorispresentedonaplinthortrolley.Thiscopyofthevideoisnumber27inaneditionof40.Thevideobeginswithtextscrollingupthescreen,whiteonablackbackground,introducingtheworkandthetaskNaumanisseenperforminginit.InthistextNaumannotesthatagoodfencecannotbebuiltormaintainedwithoutagoodcorner,thatthepostsaremadeofnine-footlongcedarrailroadties(railwaysleepers),andthatthewireheusesissmooth,notbarbed,soastoavoidsnagginghisclothesandusingobscenelanguage.NaumanalsostatesthathelearntthiswayofsettingacornerfromoneGeneThornton,thoughthemistakeshemakesarehis,notThornton’s.Astheactionofthevideobeginstherearealreadytwosturdywoodenpostsintheground,totheleftoftheframe.Naumanisseendiggingadeepholeusingaredvehiclewithanattachmentthatboresintotheground.Heusesaspadeandothertoolstoremoveexcesssoilfromtheholeinwhichhethensetsathirdpost,formingacorner.Ofthenine-footpost,abouthalfitslengthisburiedinthegroundforstability.Naumanthenplaceswoodencrossbeams,or‘Hbraces’,betweentheposts,andpullswirediagonallyacrossthem.Thelastthinghedoesistobringinagreengate,whichheplacestotheleftoftheframe,againstthecentralpost.Becausethevideoisnotcutoredited,italsorecordseverydayoccurrencessuchasNauman’swifeanddogsvisitinghimwhileheworks.Attheendofthevideowhitetextscrollsupthescreenonablackbackground.ThistextisintroducedasanepilogueandincludesthecommentsofNauman’sneighbourandpartnerontheranch,BillRiggins.Riggins,morefamiliarwithranchworkthanNauman,notesthehardnessoftheclay,andthatNaumantampedthefencepostsinwell,makingsuretherewerenopocketsofairthatwouldallowthepoststoworklose.RigginsalsoadvisesthatNaumanshouldalwayskeephistoolsinthesameplacesothathecanfindthemandthatheshouldsharpenhischainsaw.SettingaGoodCornercomesoutofNauman’sconcerns,whichbeganearlierinhiscareer,withdurationandtime,‘whereyoucouldcontrolthelengthofthefilmorvideotapeoractivitybyhavingaspecificjob.Youbeganwhenthejobstarted;andwhenthejobwasover,thefilmwasover.’(Naumanin‘“SettingaGoodCorner”:BruceNauman’,Art21,November2011,http://www.art21.org/texts/bruce-naman/interview-bruce-nauman-setting-a-good-corner,accessed11December2013).Thisbecameawaytostructurethework,sothatoncethetaskwassetNaumandidnothavetoconcernhimselfwiththeoutcome,butratherfocusoncompletingthejob.Inthatitrecordstheundertakingofeverydaymanuallabour–anunexceptionalchoreundertakenbyallthosewholiveandworkonaranch–thevideodocumentsanaspectoftheartist’sworkthatisnotconventionallyunderstoodasart.CriticEugenBlumehasexaminedtheblurringofrolesthatNaumanplaysinthevideo:Ontheonehand,itisaself-portraitofNaumaninhisotherlifeasafarmer.Acowboydeckedoutinthefullregaliaofhiscallingandequippedwithallthenecessarytoolsetsacornerforoneofthosearchetypicalranchfencesusedtopreventthehorsesorcowsfromstrayingtoofarafield.Inthecourseoftheactionthefunctionalmatter-of-factnessofthisprocedureistransposedintothenon-functionalformofanartwork,whoseproducerinturnpresentshimselfinhissecondroleasartist.(Blume2010,p.95.)Thesecondpartofthework’stitle,(AllegoryandMetaphor),mightsuggestthatthisworkcanbereadmetaphoricallysothatlikethecorneritself,thevideocapturesameetingoftwoplaces:Nauman’srolesasbothartistandrancher.Anallegoricalreading,ontheotherhand,mightsuggesttheworkhasalessonofsomekindtoimpart.AsastudentattheUniversityofWisconsinNaumanabsorbedideasfromhisprofessorsaboutthemoralpotentialofartandhehasstated:‘thereistheparticularlyAmericanideaaboutmoralitythathastodowiththeartistasworkman.Manyartistsusedtofeelallrightaboutmakingalivingwiththeirartbecausetheyidentifiedwiththeworkingclass.’(NaumaninSimon1987,p.322.)Theactof‘settingagoodcorner’foregroundsNauman’sroleaslabourerandthekindofmoralimperativeimpliedinhavingastrongworkethicanddoingajobwell.Whenheviewedafirstcutofthevideo,Nauman’sneighbour,BillRiggins,whosewordsappearattheendofthetape,said:‘Boy,you’regoingtogetalotofcriticismonthatbecausepeoplehavealotofdifferentwaysofdoingthosethings’(quotedin‘“SettingaGoodCorner”:BruceNauman’,accessed11December2013).ForthisreasonNaumandecidedtoincludecommentsfromhisneighbouronthetapeinordertoacknowledgehissuperiorexpertise,‘aboutkeepingyourtoolssharpenedandnotlettingthemlieontheground,wheretheygethurtorgetabusedanddirty,andyoucan’tfindthem’,asNaumanhassaid.(Naumanin‘“SettingaGoodCorner”:BruceNauman’,accessed11December2013.)Incomparisonwiththefirmlyestablishedlocals,Naumanwasrelativelynewtoranchwork,havingmovedtoPecos,NewMexico,in1979,wherehebuiltastudioonhisproperty.AlthoughitisrareforhisworktoreflectthespecificenvironmentofNewMexico,thisparticularfilmshedslightonthelifetheartistleadsinthesouthwestandinthelandscapeheexperienceseveryday.Indeed,thework’soutdoorsettingisunusualinthatthemajorityofNauman’svideoworksarefilmedinsidethestudio(see,forexample,MAPPINGTHESTUDIOIIwithcolorshift,flip,flop,&flip/flop(FatChanceJohnCage)2001,TateT11893).

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