Summary
Good Boy Bad Boy marks Nauman's return to working with video after a break of twelve years. 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. 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. 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)… (read more)
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