ArtDaily PhotoGalleries

Tate Modern opened a new exhibition exploring the full breadth of Bruce Nauman’s ground-breaking work as an artist. This is the most substantial survey of Nauman’s work in London for more than 20 years. In this image: Bruce Nauman, A Cast of the Space Under My Chair 1965–1968. Concrete 445 x 391 x 371 mm Kröller-Mu¨ller Museum, Otterlo, The Netherlands. Formerly in the Visser Collection. Purchased with support from the Mondriaan Foundation © ARS, NY and DACS, London 2020.

Bruce Nauman, Anthro / Socio (Rinde Spinning) 1992. Colour, sound, six video-disc, NTSC, loop. Dimensions variable © Hamburger Kunsthalle / bpk © VG Bild-Kunst, Bonn, photo: Kay Riechers to: Christoph Irrgang © ARS, NY and DACS, London 2020.

Bruce Nauman, Black Marble Under Yellow Light 1987. Light installation and black marble blocks, 380 x 5000 x 6000 mm. “la Caixa” Collection. Contemporary Art © Nacho López © ARS, NY and DACS, London 2020.

Installation view of Bruce Nauman at Tate Modern featuring Double Steel Cage Piece 1974. Photograph by Tate Photography (Matt Greenwood). Artwork (c) Bruce Nauman / ARS, NY and DACS, London 2020.

Installation view of Bruce Nauman at Tate Modern featuring Human Nautre/Knows Doesn’t Know 1983/1986. Photograph by Tate Photography (Matt Greenwood). Artwork (c) Bruce Nauman / ARS, NY and DACS, London 2020.

Installation view of Bruce Nauman at Tate Modern featuring Black Marble Under Yellow Light 1987. Photograph by Tate Photography (Matt Greenwood). Artwork (c) Bruce Nauman / ARS, NY and DACS, London 2020.

Installation view of Bruce Nauman at Tate Modern featuring One Hundred Live and Die, 1984. Photograph by Tate Photography (Matt Greenwood). Artwork (c) Bruce Nauman / ARS, NY and DACS, London 2020.

Installation view of Bruce Nauman at Tate Modern featuring Falls, Pratfalls and Sleights of Hand (Clean Version) 1992. Photograph by Tate Photography (Matt Greenwood). Artwork (c) Bruce Nauman / ARS, NY and DACS, London 2020.

Installation view of Bruce Nauman at Tate Modern featuring Anthro/Socio (Rinde Spinning), 1992. Photograph by Tate Photography (Matt Greenwood). Artwork (c) Bruce Nauman / ARS, NY and DACS, London 2020.

Installation view of Bruce Nauman Washing Hands Normal 1996 at Tate Modern. Photograph by Tate Photography (Matt Greenwood). Artwork (c) Bruce Nauman / ARS, NY and DACS London 2020.

Bruce Nauman, Good Boy Bad Boy 1985. Video, 2 monitors, colour and audio (mono) 60 min, 52sec. Tate: Purchased 1994 © ARS, NY and DACS, London 2020.

Bruce Nauman, Walking in an Exaggerated Manner Around the Perimeter of a Square 1967–1968. 16mm film on video, projected, black and white, sound, 10min. Exhibition file courtesy Electronic Arts Intermix (EAI), New York © ARS, NY and DACS, London 2020.

Bruce Nauman, Clown Torture 1987. Four channel video with sound (two projections, four monitors), approximately one-hour loop. The Art Institute of Chicago, Watson F. Blair Prize, Wilson L. Mead, and Twentieth-Century Purchase funds; through prior gift of Joseph Winterbotham; gift of Lannan Foundation, 1997.162 © Bruce Nauman / ARS, NY and DACS, London 2020, Courtesy Sperone Westwater, New York.

Bruce Nauman, Falls, Pratfalls and Sleights of Hand (Clean Version)?1993. Kunstmuseum Wolfsburg? © ARS, NY and DACS, London 2020.

Bruce Nauman, My Name As Though It Were Written on the Surface of the Moon, 1968. Neon tubing with clear glass tubing suspension frame, in four parts, 279 x 5182 x 51 mm. Collection Stedelijk Museum Amsterdam © Bruce Nauman / ARS, NY and DACS, London 2020, Courtesy Sperone Westwater, New York.

Bruce Nauman, One Hundred Live and Die 1984. Neon tubing with clear glass tubing on metal monolith, 299.7 x 335.9 x 53.3. Collection Benesse Holdings, Inc./Benesse House Museum, Naoshima © Bruce Nauman / ARS, NY and DACS, London 2020, Courtesy Sperone Westwater, New York.

Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) 1967. Neon tubing with clear glass tubing suspension frame, 1499 x 1397 x 51 mm. Kunstmuseum Basel © Bruce Nauman / ARS, NY and DACS, London 2020, Courtesy Sperone Westwater, New York.