![]() Museum Boijmans-van Beuningen, Rotterdam, travelled to: Transexualis and REPRESSIA CREMASTER 1 and CREMASTER 4 Walker Art Centre, Minneapolis, travelled to: Musee d’Art Moderne de la Ville de Paris, Paris, travelled to: Musee d’Art Moderne de la Ville de Paris, Paris Guggenheim Museum, New York, travelled from: Living Art Museum (Nýlistasafnið), Reykjavik San Francisco Museum of Modern Art, San Franciso Museum Boijmans-van Beuningen, Rotterdam (catalogue)Ģ1st Century Museum of Contempory Art, Kanazawa, travelled to: San Francisco Museum of Modern Art, San Francisco, travelled from:Ģ1st Century Museum of Contempory Art, Kanazawa John McWhinnie at Glenn Horowitz Bookseller, New York Matthew Barney: Drawing Restraint 9 Storyboards Serpentine Gallery, London, travelled to: Mönchehaus Museum Goslar, Verein zur Förderung Moderner Kunst e.V., Goslar The Morgan Library & Museum, New York, travelled to:īnF Bibliothek Nationale de France, Paris Subliming Vessel: The Drawings of Matthew Barney The Geffen Contemporary at MOCA Museum of Contemporary Art, Los Angeles The Geffen Contemporary at MOCA Museum of Contemporary Art, Los Angeles, travelled from: Yale University Art Gallery, New Haven, travelled to:Īdam Art Gallery, Victoria University of Wellington, Wellington Yale University Art Gallery, New Haven (catalogue) UCCA Center for Contemporary Art, Beijing Matthew Barney, Carolee Schneemann, Kazuo Shiraga, Min TanakaĢ1st Century Museum of Contemporary Art, Kanazawa Guardian of the Veil, "Il Tempo del Postino"ġ2–14 July, 2007, Manchester International Festival The Yale University Art Gallery, New Haven San Francisco Museum of Modern Art, San Francisco Rose Art Museum, Brandeis University, Waltham ![]() Hamburger Bahnhof – Museum für Gegenwart, Berlin 13 x 15 x 1 1/4 in. Photo: Tom Powel Imaging Inc.įondation Cartier pour l’art contemporain, Paris ![]() Image: Orange Lupine, 2021, graphite and gouache on paper in high-density polyethylene frame, 33 x 38.1 x 3.2 cm. cat., Haus der Kunst, Munich New York: Skira Rizzoli, 2014, p. Enwezor, ‘Portals and Processions: Matthew Barney’s River of Fundament’, in Matthew Barney: River of Fundament, exh. At the root of his provocative art is an examination of physical and biological systems as a portal to the psychic, symbolic, mythological, occult, and archetypal dimensions of human experience and consciousness.’ A leading artist of his generation, he is a visionary figure whose complex and radical forms have generated an entirely new artistic vocabulary that is as unique as it is protean. ‘Over the last twenty-seven years Matthew Barney has produced some of the most accomplished, demanding, and distinctive bodies of work in contemporary art. The closely interrelated elements of his oeuvre form the parts of a mythological Gesamtkunstwerk, addressing questions of life and death, the natural world and industrial transformation, the cosmic and terrestrial. Barney’s drawings mark both the beginning and end of his filmic projects, existing as preparatory sketches and as reflective recollections of internal states. Celebrated for his feature-length cinematic work, including the seminal Cremaster Cycle (1994–2002), River of Fundament (2014) and Redoubt (2019), the artist creates fantastical universes which challenge the limits and politics of gender, sexuality and codified beliefs.ĭescribing himself primarily as a sculptor, Barney works with materials stretching from petroleum jelly to bronze, creating objects and installations that are intrinsically linked to his cinematic world. 1967) is known for his innovative and broad-ranging practice encompassing film, performance, sculpture, photography and drawing.
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