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Bruce Nauman, Schaulager, installation view
Bruce Nauman, Schaulager, installation view
Nauman, Beating with a baseball bat, 1986, water-based paint and pencil on paper, Udo & Anette Brandhorst Samslung
Bruce Nauman, One Hundred Live and Die, 1984, Collection Benesse Holdings, Inc. / Benesse House Museum, Naoshima, photo: Dorothy Zeidman, © Bruce Nauman / 2018, ProLitteris, Zurich
Bruce Nauman, One Hundred Live and Die, 1984, detail
Bruce Nauman, One Hundred Live and Die, 1984, detail
Bruce Nauman, Sex and Death by Murder and Suicide, 1985, Neon tubing mounted on aluminum, Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel, photo: Bisig & Bayer, Basel © Bruce Nauman / 2018, ProLitteris, Zurich
Bruce Nauman, Schaulager, installation view
Bruce Nauman, Green Horses, 1988 (still), Video installation, Albright-Knox Art Gallery, Whitney Museum of American Art, New York, 2007, Photo: Ron Amstutz © Bruce Nauman / 2018, ProLitteris, Zurich.
Bruce Nauman Human Nature / Life Death / Knows Doesn’t Know, 1983, Neon tubing with clear glass tubing suspension frames, Los Angeles County Museum of Art © Museum Associates/LACMA, © Bruce Nauman / 2018, ProLitteris, Zurich
Bruce Nauman, an outsider artist in Basel
As the international market revs up for Art Basel, the yearly event that sends ripples, and the occasional shock wave, through the art market, Bruce Nauman and Georg Baselitz – 156 years between them – defy time to bring to Schaulager and the Beyeler Foundation absurdly youthful and significant shows from opposite ends of the contemporary art spectrum. 1,234 more words
