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That 1968 video was Nauman’s riff on a Classical pose, designed to enliven static sculpture and lend the body a pleasing curve. A stationary camera filmed the lithe young artist as he paced up and down a corridor, swinging his hips from side to side.
Dec 7, 2018 · was Nauman’s riff on a classical sculptural pose, designed to enliven static figures and lend the body a pleasing curve. A stationary camera filmed the lithe young Nauman pacing his first corridor, swinging his hips from side to side. The newer work again shows him walking the length of his studio dressed
Apr 29, 2024 · In the latter he strutted within a narrow corridor he had constructed, exaggerating the contrapposto pose of Classical sculptures. Soon after, he repurposed the hallway into a series of installations that invited observers to experience the space for themselves.
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Contrapposto translates as “counterpose” from the Italian and refers to a pose that first appeared in Greek classical sculpture to introduce dynamism into the representation of the figure. Nauman’s original appropriation of the pose in motion in 1968 questioned the boundaries between performance and sculpture through the relatively new ...
Sep 28, 2021 · What starts out as a banal experiment soon becomes a rigorous exercise in endurance: the classical stance Nauman adopts between each shifting of weight becomes an absurd live sculpture, the space of the narrow corridor now defined by his body as it moves unharmoniously from side to side.
This puts that classical and iconic pose into a very non-classical, contemporary medium and context, and it really calls attention to the absurdity and unreality of such a pose. In this piece he employs his usual mischievous style that can further be seen in his later works “Self Portrait as Fountain” and “Henry Moore Bound to Fail” of ...
the pose of a standing human body resting its weight on a single leg, and therefore causing a dynamic torsion that contrasted with the stiffness of the poses in Archaic Greek sculpture. Working with a wide range of materials and methods, Nauman demonstrates the pre - cariousness of some of our fundamental and,
