Nan Hoover

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Auszeichnungen
Preis1996Künstlerinnenpreis NRWLand NRWDüsseldorf, Deutschland
Preis19961996 Künstlerinnenpreis des Landes Nordrhein-Westfalen im Bereich MultimediaLandes Nordrhein-WestfalenDüsselddorf
Preis19871. Preis der Dritten Internationalen BiennaleInternationalen Biennale in LjubljanaLjubljana
Stipendium1980DAAD-StipendiumDAADBerlin


Ausstellungen
Gruppenausstellung2013Re.act.feminismAkademie der Künste Berlin,Berlin
Einzelausstellung2009Movement in LightDutch Art Institute, University TwenteTwente
Gruppenausstellung2008Nan Hoover and Bill Viola. Some TimesNan Hoover and Bill Viola. Some TimesSalzburg
Einzelausstellung2001Nan HooverStaatliche Galerie MoritzburgHalle
Einzelausstellung1995movement from either directionKunst- und Ausstellungshalle der Bundesrepublik Deutschland,Bonn
Projekt1976Licht-PerformanceBerlin


Bibliograpie
Monographisch2017Nan Hoover: Catalogue Raisonné.Dawn Leachhttp://nbn-resolving.de/urn:nbn:de:gbv:715-oops-34632 


2008
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Gestorben

2008
1998 - 1999
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Forschung und Lehre

Amsterdam, Niederlande
Gerrit Riedveld Akademie

1998 - 1999
1987 - 1996
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Forschung und Lehre

Düsseldorf, Deutschland
Professur für Video und Film, Kunstakademie Düsseldorf
LINK

1987 - 1996
- 1931
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Geboren

Bay Shore, New York, New York

- 1931
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Arbeitsorte / Ateliers

Berlin, Deutschland

Nan Hoover initially trained in fine arts, worked in video since the early 1970s. Her interests explored how the borders of visibility in the electronic medium are not steered by a technical concept, but rather are grounded in an overall aesthetic approach to the visible world. Hoover worked with macro perspectives of single body parts and folded papers, where the extreme enlargement and unusual perspective positioning of these objects in relation to the camera create effects that appear strange. For example, views of paper and of a hand or arm of her body in a photograph might easily be misrecognized as sand dunes or mountains. Hard contrasts of illuminated fingers create a dynamic where body objects seem to be totally disembodied and appear as free-standing matter in a spatial surrounding that is deliberately undefined. Hoover provoked the observation of the viewer to use his or her imagination in order to recognize what is presented. The viewing process is further challenged through low contrast and sometimes-minimal illumination, as well as through the lack of deep focus in her early videos. For Hoover, video, and later through performances, were opportunities for interplay between light and movement.

http://www.fondation-langlois.org

Besondere MerkmaleCinematografie
Impressions photo Impressions 1978 Nan Hoover 
Metropolis photo Metropolis 2006 Nan Hoover