+ Expand

Dimensions: as installed: 48 x 16 x 48 in. 121.9 x 40.6 x 121.9 cm. object: 68 x 16 x 3 in. 172.7 x 40.6 x 7.6 cm.

+ Expand

Provenance: Stephen Kaltenbach and Judith Weintraub, Sacramento
Malcom and Judith Weintraub, Sacramento
Irving Blum, Los Angeles
Nicholas Wilder Gallery, Los Angeles
Barbara and Eugene Schwartz, New York
The New Museum of Contemporary Art, New York (gift from the above)
Donald Young Gallery, Chicago
Acquired by the present owner from the above in May 1985

+ Expand

Exhibited:

New York, Leo Castelli Gallery, Bruce Nauman, January - February 1968, cat. no. 9, n.p., illustrated (LC #9)
Los Angeles, Los Angeles County Museum of Art; New York, Whitney Museum of American Art; Bern, Kunsthalle Bern; Düsseldorf, Städtische Kunsthalle; Eindhoven, Stedelijk van Abbemuseum; Milan, Palazzo Reale; Houston, Contemporary Arts Museum; San Francisco, San Francisco Museum of Art, Bruce Nauman: Work from 1965 - 1972, December 1972 - July 1974, cat. no. 2, p. 20 and p. 54, illustrated
Chicago, Donald Young Gallery, Artschwager, Judd, Nauman 1965 - 1985, May - June 1985

+ Expand

Literature: Peter Plagens, "Roughly Ordered Thoughts on the Occasion of the Bruce Nauman Retrospective in Los Angeles," ArtForum 11, no. 7, March 1973, p. 58, illustrated
Coosje van Bruggen, "Bruce Nauman: Entrance, Entrapment, Exit," ArtForum 24, no. 10, Summer 1986, p. 91, illustrated
Robert Storr, "Nowhere Man," Parkett, no. 10, September 1986, p. 77, illustrated
Exh. Cat., London, Whitechapel Art Gallery (and travelling), Bruce Nauman, 1986, p. 14, illustrated
Coosje van Bruggen, Bruce Nauman, New York, 1988, p. 32, illustrated
Neal Benezra, et. al., Bruce Nauman: Catalogue Raisonné, Minneapolis, 1994, cat. no. 16, p. 195, illustrated

+ Expand

Notes: Executed in 1965.
PROPERTY OF A DISTINGUISHED AMERICAN COLLECTION
``To construct this piece, Nauman made a long, flat abstract shape out of clay from which he made a plaster mold. This was used twice to cast the fiberglass halves, using pale yellow pigment for one segment and greenish-white pigment for the other. The two parts are displayed propped against the wall in a configuration that Nauman calls a `double reverse pairing.' The importance of its installation is underscored by the way in which the work's dimensions have traditionally been given as those of a right isosceles triangle whose two equal sides are formed by the wall and the floor: 48 x 16 x 48 inches.'' (Bruce Nauman: Catalogue Raisonne, Minneapolis, 1994, p. 195)