Nan Hoover

Associated person(s)
URLsArtist's page
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Artist's page

Award1996Künstlerinnenpreis NRWLand NRWDüsseldorf, Germany
Award19961996 Künstlerinnenpreis des Landes Nordrhein-Westfalen im Bereich MultimediaLandes Nordrhein-WestfalenDüsselddorf
Award19871. Preis der Dritten Internationalen BiennaleInternationalen Biennale in LjubljanaLjubljana

Group exhibition2013Re.act.feminismAkademie der Künste Berlin,Berlin
Solo exhibition2009Movement in LightDutch Art Institute, University TwenteTwente
Group exhibition2008Nan Hoover and Bill Viola. Some TimesNan Hoover and Bill Viola. Some TimesSalzburg
Solo exhibition2001Nan HooverStaatliche Galerie MoritzburgHalle
Solo exhibition1995movement from either directionKunst- und Ausstellungshalle der Bundesrepublik Deutschland,Bonn

Monography2017Nan Hoover: Catalogue Raisonné.Dawn Leach 



1998 - 1999

Research and teaching

Amsterdam, Netherlands
Gerrit Riedveld Academy

1998 - 1999
1987 - 1996

Research and teaching

Düsseldorf, Germany
Professor for video und film, Kunstakademie Düsseldorf

1987 - 1996
- 1931


Bay Shore, New York, New York

- 1931

Places of work / studios

Berlin, Germany

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.






Impressions photo Impressions 1978 Nan Hoover 
Metropolis photo Metropolis 2006 Nan Hoover