Bruce Nauman

Bruce Nauman was born in Fort Wayne, Indiana, in December of 1941. He received his MFA from the University of California for his work in film products after studying physics, mathematics and art at the University of Wisconsin in the early 60’s. Nauman creates his work by using science and technology, and sees his work as more of an activity and less of a product.  While Nauman has worked in a multitude of mediums, it’s his use of lighting either to create or within his pieces that captivated me.

In this day and age, neon lights are everywhere; advertising any and everything available to a society. Nauman has taken the neon media and placed it back where it originally came from ~ sex. Neon sold sex; from the fluid movement of the images of girls dancing on poles, to the words “SEX” illuminating in the dark; sex was advertised and sold by the bright flashing lights dancing in the dark. Nauman has utilized neon tubing in his naturalistic representations of the male nude in various sexual positions in his Mindfuck exhibition. Between the erotic action of the piece, and the enormous size, the viewer is engulfed in the sexual act before them. Sex and Death/ Double ‘69’ has a staccato action playing out in front of the viewer, with each portion of the male nude engaging in a homosexual act with another male. While the pictures placed online only portray the piece in a 2D version, I can imagine that viewing the piece in person could be quite erotic to some, and uncomfortable to others.








Sex and Death/ Double '69', 1985
Neon tubing on aluminum monolith 227 x 134.8 x 34 cm / 89 3/8 x 53 1/8 x 13 3/8 in
Private Collection. Courtesy Hauser & Wirth









While I enjoyed the work that Nauman created using the neon tubing, I’d have to say my favorite piece of his is Green Light Corridor. This piece is very minimalistic, by illuminating a brilliant green color onto the interior walls of the piece. There is very little space between the walls, but the viewer is able to squeeze themselves into the piece, becoming one with the work. I’d imagine that each viewer would be able to take something different away just by placing themselves inside of the work. Does the constricting space minimize you? Does it make you feel larger than life? Does it evoke panic or peace? You really wouldn't know until you've put yourself into the space and experienced what your mind and soul speak while you stand there and ponder it.

Green Light Corridor), 1971
Wallboard, green fluorescent lights
10 x 40 x 1 ft.
Solomon R. Guggenheim Museum, New York Panza Collection, Gift, 1992