food in the arts

 

 
   
     
 
 
NAUMAN, Bruce/ ARTISTS 1900 - present/ ART MAIN

(b.1941 in Fort Wayne, Indiana.)

Nauman studied mathematics and physics at the University of Wisconsin–Madison, and art with William T. Wiley and Robert Arneson at the University of California, Davis. He worked as an assistant to Wayne Thiebaud, and in 1966 he became a teacher at the San Francisco Art Institute. In 1968 he met the singer and performance artist Meredith Monk and signed with the dealer Leo Castelli. In 1979, Nauman moved to New Mexico where he continues to work and live along with his wife, the painter Susan Rothenberg.

His practice spans a broad range of media including sculpture, photography, neon, video, drawing, printmaking and performance.

Much of his work is characterized by an interest in language, often manifesting itself in a playful, mischievous manner. For example, the neon Run From Fear- Fun From Rear, or the photograph Bound To Fail, which literalizes the title phrase and shows the artist's arms tied behind his back. There are however, very serious concerns at the heart of Nauman's practice. He seems to be fascinated by the nature of communication and language's inherent problems, as well as the role of the artist as supposed communicator and manipulator of visual symbols.

Nauman began in the 1960s with exhibitions at Nick 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. Through most of his midcareer until the early 1980s he flew just below the radar of art market experts

Bruce Nauman 'Flor Arrangements'

Flour Arrangements (1967)

Flour Arrangements, a photo series showing Nauman pushing some piles of flour around on the floor. He uses his body by treating it like material for his art. Nauman committed himself to making one ephemeral flour sculpture each day for over a month.
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Bruce Nauman in UbuWeb Film
Artists' films
 

Martha Rosler's Semiotics of the Kitchen - 1975

From A to Z, Rosler "shows and tells" the ingredients of the housewife's day, giving us a tour that names and mimics the ordinary with movements more samurai than suburban. Rosler's slashing gesture as she forms the letters of the alphabet in the air with a knife and fork, is a rebel gesture, punching through the "system of harnessed subjectivity" from the inside out. 

"I was concerned with something like the notion of Ôlanguage speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity." 
—Martha Rosler

 

bruce nauman