Bruce Nauman's foray into holography marks a significant period in his exploration of art mediums, showcasing his pioneering spirit and innovative approach to art-making. Nauman's engagement with holography began in the late 1960s, a time when this technology was still in its nascent stages. He is credited as one of the first established artists to embrace holography as a form of artistic expression, demonstrating a keen interest in the medium's potential for creating three-dimensional images on two-dimensional surfaces.
In 1968, Nauman embarked on creating two distinct series of holographic works. The first, titled "First Hologram Series: Making Faces," features Nauman in various facial expressions across eleven frames. The second series, "Second Hologram Series: Full Figure Poses," presents Nauman's body in a series of dynamic, contorted poses across ten frames. A notable aspect of these holograms is that Nauman had his eyes closed in each, a precautionary measure against the potential eye damage from the laser light used in the holography process. This requirement, along with the intense light, lent the images a distinctive, slightly waxen appearance (Unframed).
Nauman's holograms were among the first to be displayed in a museum setting, making an early appearance at LACMA in the early 1970s. However, displaying these works posed significant challenges, particularly in terms of recreating the exact lighting conditions needed to view the holograms correctly. This complexity led to the holograms being infrequently exhibited until recent years, when advancements in lighting technology, such as the use of diode lasers, allowed for safer and more precise illumination of the holographic plates (Unframed).
In addition to his own series, Nauman's work was featured in the "Pictures from the Moon: Artists’ Holograms 1969–2008" exhibition at the New Museum. This exhibition highlighted Nauman's contributions to holography alongside works by other artists who have explored the medium's unique spatial, volumetric, and sequential qualities. Nauman's holograms from this period reflect his ongoing experimentation with the body as a medium, furthering his investigations into physical manipulation and the exploration of space (New Museum).
Moreover, Nauman's work "Studies for Holograms (a-e)," produced in 1970, represents a continuation of his holographic experiments. These works, related to his initial hologram series and film "Pulling Mouth" (1969), utilize the body both as formal support and as material for artistic creation. The "Studies for Holograms" series comprises graphic materials and screen prints that offer an adaptable "presence" of the artist within the work, showcasing Nauman's innovative use of infrared photography and serigraphy to expand the boundaries of holography (MACBA).
Bruce Nauman's engagement with holography exemplifies his broader artistic quest to challenge and expand the conventional boundaries of art-making. Through his pioneering use of holography, Nauman not only explored the possibilities of new technologies but also deepened his investigation into the themes of body, space, and perception that have characterized much of his work.
