Studies for Holograms (d) 1970

Editor: Here we have Bruce Nauman’s "Studies for Holograms (d)," a photographic print from 1970. The stark, almost clinical, depiction of stretched skin is, well, unsettling. What do you see in this piece? Curator: Primarily, I am drawn to the artist's manipulation of form. Note how the flattening effect of the photographic process, combined with the tactile tension suggested by the stretching of the skin, creates a visual paradox. The artist transforms flesh into an abstract plane. Editor: I see that. So the subject, or what's being represented, is almost secondary to how it's represented? Curator: Precisely. The textural quality of the print, its light and shadow play, supersedes any narrative. Consider how the tight cropping emphasizes the surface—the grain of the skin, the slight imperfections. Do you think the limited palette adds something? Editor: Definitely, the monochromatic scale lends to the alienating effect and emphasizes the stark contrast. It directs you straight to the skin texture. Is this part of Nauman's style in that era? Curator: Indeed, his exploration of the body as a site of artistic investigation is characteristic. But here, the image itself is the object, calling attention to its constructed nature and materiality. We see what Nauman does to form by presenting only this piece of skin and that’s all. Editor: That's fascinating. I had initially focused on the subject matter, but now I appreciate the formal considerations and the focus on materiality. Curator: Absolutely. The true subject is not the skin, but rather the artistic choices shaping our perception.