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Since the late 1960s Bruce Nauman has established a completely new understanding of contemporary art and has been acknowledged as one of the most relevant artists of the twentieth century. Both the last modern artist and - because of his ceaseless experimental approach to new media - the very first contemporary artist, Nauman has been noted for his landmark conceptual approach against which much contemporary art of today can be measured.0Focusing in particular on his experiments with sound, the moving image and immersive installations, this book comprises texts on Nauman's video works of the 1980s and 1990s, as well as on his studio practice and more recent work, along with a conversation between the artist and Andrea Lissoni and Nicholas Serota. Accompanying a momentous exhibition at Tate Modern, this richly illustrated book reveals Nauman as an artist who has uniquely blazed a trail in both the twentieth and twenty-first centuries.

Art --- sculpture [visual works] --- neon sculpture --- installations [visual works] --- video art --- light art --- Nauman, Bruce --- Nauman, Bruce, --- kunst --- eenentwintigste eeuw --- twintigste eeuw --- Verenigde Staten --- installaties --- video --- videokunst --- video-installaties --- Nauman Bruce --- 7.071 NAUMAN --- Exhibitions

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kunst --- 7.071 PACI --- identiteit --- migratie --- globalisering --- Italië --- video-installaties --- fotografie --- videokunst --- video --- Paci Adrian --- Albanië --- eenentwintigste eeuw --- installaties --- schilderkunst --- Exhibitions --- Art --- video recordings --- installations [visual works] --- painting [image-making] --- photography [process] --- sculpting --- Paci, Adrian --- video recordings [physical artifacts]

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Published on the occasion of an exhibition at Collezione Maramotti centring on the installation piece "Isolated Bathroom / Composition with Four Colors" by Dutch artist Mark Manders, this book comprises a lengthy series of black-and-white photographs from behind the scenes and of the artist's working environment, together with his creative process. In a special insert, Manders explains his thoughts on the piece, which Mario Diacono then further analyses in detail, discussing the spatial and semantic hierarchy of elements, its triggering of multiple associations, and relationship with Manders' entire body of work, extending from "Self-portrait as a building", begun in 1986.

sculpting --- Sculpture --- installations [visual works] --- Manders, Mark --- kunst --- eenentwintigste eeuw --- Nederland --- Manders Mark --- beeldhouwkunst --- installaties --- 7.071 MANDERS --- Exhibitions

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kunst --- twintigste eeuw --- Ruthenbeck, Reiner --- beeldhouwkunst --- installaties --- 7.071 RUTHENBECK --- Art --- chairs [furniture forms] --- tables [support furniture] --- installations [visual works]