Curatorial Statement

The theme of this digital exhibition is The Body: As Object, this particular topic was chosesn because the body or in this case the artist’s body is the most readily available object and tool. It’s always there, no copyright infrigment and generally free to use. This section of video based performance art is interesting because these artists are using their bodies to produce the work in this exhibition. With this particular theme, the artist is not worried about the end result, but rather the process that took place during the performance. This is particularly important in all of the pieces featured in this exhibition, because there isn't necessarily an end product like a traditional painting would have.

The artists featured in this exhibition are Paul McCarthy, Pipilotti Rist, Dennis Oppenheim, Hannah Wilke, Bruce Nauman. What separates these artists from traditional artists is the fact that they use their own bodies as the “canvas” for their work, rather than directing others, or using other materials as the main element in their performance. These artists are creating a performance treating their bodies as an object or tool to complete a task. In each performance, the artist’s seem to be testing the limits of their own bodies, by placing themselves in awkward situations and manipulating their bodies to accentuate the pliability.

Throughout this exhibition, the reoccurring theme is the body and it’s many artistic uses, in this case it’s use as a tool and as and artistic object. These artists are literally taking themselves and making art.

Monday, December 7, 2009

Bruce Nauman: Pinchneck




Born in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin. In the late 1960’s Nauman earned a reputation as a conceptual pioneer in the field of sculpture. He produced his first videos in 1968.

Since the early 1970’s as one of the most innovative and provocative American contemporary artists, Nauman finds inspiration in the activities, speech, and materials of everyday life, including his own body.

“If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product (Nauman via www.pbs.org),”

"Nauman’s video based performance titled Pinch Neck from 1968 features close-cropped images of Bruce Nauman’s face framed by the bridge of his nose to his Adam’s apple by the width of his face. Within this frame Nauman, using his fingers, pinches his lips, pulls his lower lip; pinches his cheeks, pulls at his neck, accentuating the elastic element of his facial skin, much in the same way Hannah Wilke does in her video performance Gestures. He explores the skin on his face as an art object rather than a body part. He kneads his skin and pushes and pulls it to create different “gestures.” This video has an endurance element to it as well. Nauman is enduring the manipulation of his face, by himself (www.mellart.com)."

Nauman uses his body to explore the limits of everyday situations; Nauman explored video as a “theatrical stage and surveillance device” within an installation context.

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