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Nauman: 8 Text passages

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1. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
from 1965 as the first video camera for private use that was viable both financially and in terms of weight. Artists like Bruce Nauman work with it, but their real-time video tapes, technically primitive but intensive as a result of their permanent repetition, [more]

2. Rudolf Frieling «Reality/Mediality Hybrid Processes Between Art and Life»
see them at a deferred point in time insisted on their status as art and were suspicious of audience participation—see Bruce Nauman's early films and video tapes or Jochen Gerz' «Rufen bis zur Erschöpfung» (1972). Other works demonstrated [more]

3. Rudolf Frieling «Reality/Mediality Hybrid Processes Between Art and Life»
border. The body «disclosed» itself solely to the internal view and mental experience of one's own body. Bruce Nauman defined [more]

4. Inke Arns «Social Technologies Deconstruction, subversion, and the utopia of democratic communication»
1990s. Classic artistic treatments of social surveillance devices include Vito Acconci («Following Piece,» 1969), Bruce Nauman («Live-Taped Video Corridor,» 1969–1970; «Video Surveillance Piece: Public Room, Private Room,» [more]

5. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication»
Campus and Peter Weibel used closed-circuit installations to confront spectators with their own mediated image, while in Bruce Nauman's «Live-taped Video Corridor» (1970) the viewers found themselves being radically conditioned. These interactive [more]

6. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
mass media,[13] but also in the performative and visual arts, as combined by Gene Youngblood in «Expanded Cinema;» Bruce Nauman showed his first videotape in the Nicholas Wilder Gallery in Los Angeles in 1968, the gallery owner Howard Wise presented his [more]

7. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
editing or subsequent adaptation, were suitable for mobile production and for recording non-dramaturgical, open processes.[16] Bruce Nauman's or Vito Acconci's tapes presented situative processes or «attitudes,» with a beginning and end that followed [more]

8. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
with a certain degree of bitterness as early as 1986 can probably not be established ahistorically as inherent in the medium. Bruce Nauman's «Anthro/Socio» at documenta 9 in 1992 can be interpreted as an example of museum quality and of ‹social [more]