<span style="font-style: italic;font-size:130%;" ><span style="font-weight: bold;">Green Light Corridor</span></span>, 1970.<br /><br /><span style="font-style: italic; color: rgb(153, 153, 153);"></span><span style="font-style: italic;"> "Bruce Nauman enforces the contrast between the perceptual and physical experience of space in his sculptures and installations.</span>"<br /><br /><br /><a href="http://farm7.static.flickr.com/6115/6257890919_d0059dcb91_b.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://farm7.static.flickr.com/6115/6257890919_d0059dcb91_b.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 700px; height: 715px;" /></a><span style="font-style: italic; color: rgb(51, 0, 0);font-size:180%;" ><br /><br /><br /><span style="font-weight: bold;">Bruce Nauman </span></span>defies the traditional notion that an artist should have one signature style and a visually unified oeuvre. Since the mid-1960s the artist has created an open-ended body of work that includes fiberglass sculptures, abstract body casts, performances, films, neon wall reliefs, interactive environments, videos, and motorized carousels displaying cast-aluminum animal carcasses.<span style="color: rgb(102, 102, 102);"> </span><span style="font-style: italic; color: rgb(102, 102, 102);font-size:130%;" ><span style="font-weight: bold;">If anything links such diverse endeavors, it is Nauman’s insistence that aesthetic experience supersedes the actual object in importance.</span></span> Perception itself—the viewer’s encounter with his or her body and mind in relation to the art object—can be interpreted as the subject matter of Nauman’s work. Using puns, claustrophobic passageways with surveillance cameras, and videotaped recitations of bad jokes, he has created situations that are physically or intellectually disorienting, forcing viewers to confront <span style="font-style: italic; color: rgb(51, 102, 102);font-size:130%;" ><span style="font-weight: bold;">their own experiential thresholds. </span></span><br /><br />Looking at the brilliant color emanating from <span style="color: rgb(0, 51, 0);font-size:180%;" ><span style="font-weight: bold;">Green Light Corridor (1970)</span></span> prompts quite a different phenomenological experience than does maneuvering through its narrow confines. Lighted Performance Box (1969) provokes another experiential situation. As a rectangular column, it resembles the quintessential unitary Minimalist sculpture, yet the square of light cast on the ceiling from the lamp encased inside alters one’s reading of the piece: the sense of a hidden, unattainable space, one that can only be experienced vicariously, is evoked. Thus, the performance alluded to in the title is only a private, conceptual act, initiated when viewers attempt to mentally project their own bodies into this implied interior place. "<br /><br /><span style="font-style: italic;">-Nancy Spector</span><br /><br /><a href="http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Green%20Light%20Corridor&page=&f=Title&object=92.4171" style="font-weight: bold; font-style: italic;">(all text and images taken from here)</a> <span style="font-style: italic;">Guggenheim</span><br /><span style="font-style: italic; color: rgb(102, 102, 102);"></span><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="color: rgb(255, 255, 255);">----------------------</span>

Green Light Corridor , 1970. "Bruce Nauman enforces the contrast between the perceptual and physical experience of space in his sculp...

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