Eating My Words
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I think the point where language starts to break down as a useful tool for communication is the edge where poetry or art occurs
Nauman first explored what he calls the 'functional edges' of language in Eleven Color Photographs 1966-7/70. The individual titles of these photographs are as significant as the images to which they belong, offering both instructions for, and descriptions of, physically performed acts, and linguistic puns that provide the basis for their visual manifestations.
The works in this room incorporate multiple forms of wordplay – puns, palindromes, anagrams, repetition – to manipulate language to the point at which meanings shift or multiply and syntax no longer functions. In First Poem Piece 1968, the phrase 'you may not want to be here' is transposed onto the intersections of a grid engraved on a steel slab and transformed over eighteen lines by omitting a combination of words and replacing 'here' with 'hear'. By displacing the component parts of the phrase, Nauman undermines the capacity of the individual words to convey finite meaning.
Many of Nauman's word games have been performed in neon, a medium that stresses the object-like quality of letters and words rather than their function. Several of the neon signs illuminate in sequence so that letters, words or phrases continually repurpose themselves and again deny fixed meaning.
The audible, spoken word is also important. Good Boy Bad Boy 1985 and World Peace (Received) 1996 demonstrate how the meaning of words changes through repetition, the addition of alternative pronouns and variation in physical delivery. In other works, words become abstract sounds through relentless repetition.
| Works in this section | ||||
|
Lip Sync 1969 |
Good Boy Bad Boy 1985 |
Double Face 1981 |
NO (Black Slate) 1981 |
La Brea/Art Tips/Rat Spit/Tar Pits 1972 |
|
Life Fly Lifes Flies 1997 |
M Ampere 1973 |
RawWar 1968 |
Raw-Raw 1970 |
Jump (still) 1994 |
|
Waxing Hot from Eleven Color Photographs
1966/7-70 |
Make Me Think Me 1994 |
Work (stills) 1994 |
Run from Fear, Fun from Rear 1972 |
World Peace (Received) 1996 |
Waxing Hot from Eleven Color Photographs 1966/7-70
Approx. 502 x 584 mm
Froehlich Collection, Stuttgart © ARS, NY and DACS, London 2006

World Peace (Received) 1996
Video, five monitors, colour, sound, five trolleys and stool, 3200 mm diameter .
Saint Louis Art Museum © ARS, NY and DACS, London 2006

Lip Sync 1969
Video, black and white, sound, approx. 60 minutes repeated continuously.
Electronic Arts Intermix, New York © ARS, NY and DACS, London 2006

Suite Substitute 1968
Neon tubing with clear glass tubing suspension frame, 132 x 1270 x 127 mm.
Froehlich Collection, Stuttgart © ARS, NY and DACS, London 2006

La Brea/Art Tips/Rat Spit/Tar Pits 1972
Neon tubing with glass tubing suspension frame, 619 x 584 x 51 mm.
Anthony d'Offay, London © ARS, NY and DACS, London 2006

Life Fly Lifes Flies 1997
Etching on paper, 939 x 686 mm
Tate. Lent by the American Fund for the Tate Gallery courtesy of Jean-Christophe Castelli in memory of Leo Castelli 2001 © ARS, NY and DACS, London 2006

Jump 1994
Video, two monitors, colour and sound
Private Collection, courtesy of Donald Young Gallery, Chicago © ARS, NY and DACS, London 2006

Human Nature/Knows Doesn't Know 1983/6
Neon tubing with clear glass tubing suspension frame, 2300 x 2300 x 355 mm
Froehlich Collection, Stuttgart © ARS, NY and DACS, London 2006

Make Me Think Me 1994
Graphite and tape on paper, 1420 x 972 mm
Froehlich Collection, Stuttgart © ARS, NY and DACS, London 2006






