Matthew barney gladstone11/12/2023 ![]() Even the archives at the gallery are pre-internet. Both Barbara and I agreed that there was a black hole in terms of its understanding. It had come up from time to time as an idea, to present this body of work again. But the standalone works from the early 1990s have received less. The works grouped under the umbrella of Drawing Restraint have received continued attention, as early cases in a long-running series. Your art from the late 1980s and early 1990s, from before the Cremaster Cycle, has often been treated two ways-or at least I’m guilty of this. ![]() Barney is himself a poet of bodies transformed, and what Ovid said about them could apply to his own early performances and sculptures: “All things are but altered, nothing dies.” × Jason Farago 1559–1575), in which the hero who gazed on Diana has been turned into a stag and is being mauled by his own hounds. When we sit down in his library I notice a small reproduction of a painting taped to the wall: Titian’s Death of Actaeon (c. On a rainy morning he guides me around his large riverfront studio, where a half-dozen assistants are restoring older works and preparing new ones two 20-foot tree trunks, these too equipped with harnesses, tower in the space and await rehearsing dancers. If the early works now seemed to prefigure the hermetic systems of the Cremaster Cycle and the performative feats of River of Fundament, they also had their own undeniable potency, strange and sublime.īarney was born in San Francisco in 1967 and grew up in Idaho he returns to the American west with some frequency, and he’s preparing to shoot a new film there. This past autumn, those early works were represented in a revelatory exhibition at New York’s Gladstone Gallery, and their freshness was as surprising as their force. ![]() The performance became a central component of the OTTO Trilogy, a juggernaut in recent art history in which the 24-year-old Matthew Barney combined sculpture and performance, athletics and aesthetics. Courtesy Gladstone Gallery,Ī quarter-century ago, a young artist fresh out of Yale threw on a blue swimming cap and a white jockstrap, rigged himself into a harness, and propelled himself across the walls of a SoHo gallery by means of ice picks. View of “Matthew Barney: Facility of DECLINE.” 2016. Shop Menu Even Magazine Global perspective on contemporary art and culture An interview with Matthew Barney
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