![]() ![]() ![]() Their techniques of delivery are quite different, and result in a slippage of time, so that played on a continuous loop, the two tapes become out of sequence. They each go through the sequence five times, beginning in a flat neutral tone, and becoming increasingly animated and intense until by the fifth recitation they appear very angry. They both speak the same one hundred phrases, which are the repeated conjugation of the verb 'to be' linked with the term 'good boy': 'I am a good boy. The head and shoulders of a young black man appear on one on the other is an older white woman. In the work two monitors are displayed at head height on pedestals. ![]() Using professional actors in Good Boy Bad Boy Nauman expands this confrontation. In his corridor pieces of the early 1970s, such as Corridor with Mirror and White Lights 1971 (Tate T01753), Nauman turned a mirror and then a video camera directly on the viewer, forcing him into a confrontation with 'the connection between public and private experiences' (Nauman quoted in Bruce Nauman 1998, p.100). He then began to make sculptural installations, creating situations in which the viewer would physically experience what the artist had been exploring alone in his video performances. At the end of the 1960s he had been investigating the visual language of the body, using his own body in video tapes and slow motion 16mm films. Good Boy Bad Boy marks Nauman's return to working with video after a break of twelve years.
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