Exhibition
Bruce Nauman. Disappearing Acts
17 Mar 2018 – 28 Aug 2018
Schaulager
Basel, Switzerland
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Bruce Nauman. Fist in Mouth. 1990. Cut-and-pasted printed paper and paper with watercolor and pencil on paper, 20 1/4 x 23 3/4" (51.4 x 60.3 cm). The Museum of Modern Art, New York. Purchased with funds given by Edward R. Broida. © 2017 Bruce Nauman/Artists Rights Society (ARS), New York
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Still from Contrapposto Studies, i through vii (detail). 2015/16. Seven-channel video. Jointly owned by The Museum of Modern Art, New York, acquired in part through the generosity of Agnes Gund and Jo Carole and Ronald S. Lauder; and Emanuel Hoffmann Foundation, gift of the president 2017, on permanent loan to Öffentliche Kunstsammlung Basel. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York
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Installation view of the exhibition "Bruce Nauman: Disappearing Acts" October 21, 2018 - February 25, 2019. IN2407.40. Photograph by Martin Seck.
Exhibition
Bruce Nauman: Disappearing Acts
21 Oct 2018 – 25 Feb 2019
Regular hours
- Sunday
- 12:00 – 18:00
- Monday
- 12:00 – 18:00
- Thursday
- 12:00 – 18:00
- Friday
- 12:00 – 18:00
- Saturday
- 12:00 – 20:00
Cost of entry
$14-$25
Address
- 22-25 Jackson Avenue
- Long Island City
- New York
New York - NY 11101
- United States
Travel Information
- Take the Q67 to Jackson and 46th Aves. Take the B62 to 46th Ave
- Train - E, M, G and 7
Event map
Schaulager, Basel, The Museum of Modern Art, and MoMA PS1 present the first comprehensive retrospective of American artist Bruce Nauman in over 20 years.
About
Opening at Schaulager in March 2018 and traveling to New York in October of that year, the exhibition expands upon the rich holdings of the organizing institutions. Spanning the artist’s entire career, from the mid-1960s to the present, Disappearing Acts provides a singular opportunity to experience his command of a wide range of mediums, from drawing, printmaking, photography, and sculpture to performance, film, neon, and large-scale installations.
Disappearing Acts traces strategies of withdrawal in Nauman’s work—both literal and figurative incidents of removal, deflection, and concealment. Bodies are fragmented, centers are left empty, voices emanate from hidden speakers; the artist sculpts himself in absentia, appearing only as negative space. The installation proceeds chronologically (albeit with strategic pauses and breaks), granting ample space to the artist’s production across the decades. Nauman’s consummate skill as a draftsman, which has not been the focus of a retrospective since the mid-1980s, will be highlighted with a broad selection drawings, ranging from quick sketches to oversized, highly worked sheets.
