Sentences with phrase «dead center of the map»

Not exact matches

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

Recent solo exhibitions include «Bruce Nauman: Mapping the Studio I (Fat Chance John Cage),» the Dia Center for the Arts, New York (2002); «Bruce Nauman: Mapping the Studio,» Museum für Gegenwartkunst, Basel, Switzerland (2002); «Bruce Nauman: Theaters of Experience,» Deutsche Guggenheim, Berlin, Germany (2003); «Bruce Nauman: Make Me Think Me,» Tate Liverpool, England (2006); «A Rose Has No Teeth: Bruce Nauman in the 1960s,» UC Berkeley Art Museum & Pacific Film Archive (2007); «Bruce Nauman: Dead Shot Dan,» Contemporary Art Museum St. Louis, MO (2009); and «Notations / Bruce Nauman: Days and Giorni,» Philadelphia Museum of Art (2009).