reviews

  • View of “A Rose Has No Teeth: Bruce Nauman in the 1960s,” 2007, University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA. Photo: Ben Blackwell.

    “Bruce Nauman in the 1960s”

    Berkeley Art Museum and Pacific Film Archive (BAMPFA)

    SOME FORTY-ODD YEARS after Bruce Nauman began tweaking the conventions of studio practice and the hallowed persona of the artist-as-seer, his station in postwar art history rests secure. His influence—whether through his affectless, task-based performances, his sculptural castings of negative space, or his intermedia mash-ups of language, video, and noise—is everywhere apparent in contemporary art. Nauman’s reputation is, in short, not at issue today; what remains unsettled is the specific nature of his contribution. Recent scholarship has made significant developments in complicating

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