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Lot 35: Bruce Nauman (b. 1941)
POST-WAR AND CONTEMPORARY (EVENING SALE)
November 13, 2002
New York, NY, USA
Description: RUN FROM FEAR FUN FROM REAR yellow and pink neon tubing with glass tubing suspension frames upper element: 8 x 46 x 21/4 in. (20.3 x 116.8 x 5.7 cm.) lower element: 71/4 x 441/2 x 21/4 in. (18.4 x 113 x 5.7 cm.) Executed in 1972. This work is number two from an edition of six. PROVENANCE Gallerie Sonnabend, Paris Collection Boulois, Paris David Zwirner Gallery, New York LITERATURE J. Perrone, "Words: When Art Takes A Rest," Artforum, no. 10, Summer 1997, p. 34 (illustrated in color). K. K”nig, Quartetto: Joseph Beuys, Enzo Cucchi, Luciano Fabro, Bruce Nauman, L'Academia Foundation, Venice 1984, p. 93 (illustrated). R. Bowman, "Words and Images: A Persistent Paradox," Art Journal, Vol. 45, no. 4, Winter 1985, p. 339 (illustrated in color). C. van Bruggen, Bruce Nauman, New York 1988, p. 101 (illustrated in color). N. Benezra, K. Halbreich, P. Schimmel and R. Storr, Bruce Nauman: Catalogue Raisonn‚, Minneapolis 1995, p. 258, no. 222 (illustrated in color). EXHIBITION Indianapolis Museum of Contemporary Art; and Cincinnati, Contemporary Arts Center and Taft Museum, Painting and Sculpture Today 1974, May-October 1974, p. 47 (illustrated; another example exhibited). New York, Whitney Museum of American Art, Downtown at Federal Reserve Plaza, Words: A Look of the Use of Language in Art 1967-1977, March-April 1977 (another example exhibited). Baltimore Museum of Art, Bruce Nauman: Neons, December 1982-February 1983, p. 73, no.13 (illustrated; another example exhibited). New York, Leo Castelli Gallery; and New York, Sperone Westwater Fischer, Bruce Nauman: Violins, Violence, Silence, January 1982 (illustrated; another example exhibited). Kunsthalle Basel; and Mus‚e d'Art Moderne de la Ville de Paris; and London, Whitechapel Art Gallery, Bruce Nauman, July 1986-March 1987, p. 16 (illustrated) and p. 41 (illustrated in color; another example exhibited). Madrid, Centro de Arte Reina Sofia; capc Mus‚e d'Art Contemporain, Bordeaux; Art Cologne; Berlin, Hamburger Bahnhof; Rome, Galleria Nazionale d'Arte Moderna; Trento, Museo d'Arte Moderna e Contemporanea; Geneva, Mus‚e Rath; Tokyo, Sezon Museum of Art; Miyagi Museum of Art; Fukuyama Museum of Art; and Kyoto, National Museum of Modern Art, Collection Sonnabend, October 1987-February 1991 (illustrated; another example exhibited). Art Institute of Chicago, Affinities and Intuitions: the Gerald S. Elliott collection of contemporary art, May-June 1990, p. 81 (illustrated in color; another example exhibited). Hanover, Sprengel Museum, NEONst쳌cke, September-November 1990, p. 43, no. 20 (illustrated; another example exhibited). St. Louis, Steinberg Hall, Washington University Gallery of Art, Bruce Nauman: Light Works, January-March 1993. Madrid, Museo Nacional Centro de Arte Reina Sofia, Minneapolis, Walker Art Center; Los Angeles, Museum of Contemporary Art; Washington D.C., Hirshhorn Museum and Sculpture Garden; and New York, The Museum of Modern Art, Bruce Nauman, November 1993-May 1995, p. 144, no. 38, pl. 38 (illustrated in color; another example exhibited). London, Tate Gallery, Stuttgart, Kunsthalle Tubingen, Hamburger Kunsthalle; and Wien, Bank AustriaKunstforum, Stiftung Froehlich, May 1996- August 1997, no. 170 (illustrated; another example exhibited). Wolfsburg, Kunstmuseum; Paris, Mus‚e National d'Art Moderne, Centre Georges Pompidou; London, Hayward Gallery; and Helsinki, The Museum of Contemporary Art Kiasma, Bruce Nauman: Image/Text 1966-1996, May 1997-January 1999, p.45 (illustrated in color; another example exhibited).