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"This book is a must-have for fans of Bruce Nauman and art enthusiasts of all kinds. It is comprehensive and insightful and provides an exceptionally nuanced close reading of some of the most physically innovative and psychologically intense American artworks of the mid-twentieth century."--Lawrence Rinder, Director and Chief Curator, University of California, Berkeley Art Museum and Pacific Film Archive "Imagine a world where, as Bruce Nauman put it, you 'try to balance and can't.' Anxiety and disorientation lurk around the corner. You panic. Helpless, you try to escape. Instead, read this…mehr

Produktbeschreibung
"This book is a must-have for fans of Bruce Nauman and art enthusiasts of all kinds. It is comprehensive and insightful and provides an exceptionally nuanced close reading of some of the most physically innovative and psychologically intense American artworks of the mid-twentieth century."--Lawrence Rinder, Director and Chief Curator, University of California, Berkeley Art Museum and Pacific Film Archive "Imagine a world where, as Bruce Nauman put it, you 'try to balance and can't.' Anxiety and disorientation lurk around the corner. You panic. Helpless, you try to escape. Instead, read this book: its lucid essays show why and how Nauman's architectural installations exemplify the haunting alienation of our social life."--Anne M. Wagner, Professor Emerita of Modern and Contemporary Art, University of California, Berkeley
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Autorenporträt
Constance M. Lewallen is Adjunct Curator at the University of California, Berkeley Art Museum and Pacific Film Archive. Her exhibitions include A Rose Has No Teeth: Bruce Nauman in the 1960s and surveys of numerous other artists, and she is the author of 500 Capp Street: David Ireland's House. Dore Bowen is Associate Professor of Art History at San José State University. Her essays on postwar art are published in journals and anthologies such as A Companion to Contemporary Art since 1945 and Otherwise: Imagining Queer Feminist Art Histories.