![]() ![]() A major project consisting of a feature-length film and soundtrack composed by Björk, large-scale sculptures, photographs and drawings, Drawing Restraint 9 was built upon themes such as the Shinto religion, the tea ceremony, the history of whaling, and the supplantation of blubber with refined petroleum for oil. Drawing Restraint 7 marks the influx of narrative and characterization, resulting in a three channel video and a series of drawings and photographs, for which Barney was awarded the Aperto Prize in the 1993 Venice Biennale.Ī series of ten vitrines containing drawings, Drawing Restraint 8 was included in the 2003 Venice Biennale and prefigured the narrative development for Drawing Restraint 9 (2005). In literally restraining the body while attempting to make a drawing, Drawing Restraint 1–6 (1987–89) were documentations made using video and photography. The Drawing Restraint series began in 1987 as a series of studio experiments, drawing upon an athletic model of development in which growth occurs only through restraint: the muscle encounters resistance, becomes engorged and is broken down, and in healing becomes stronger. Īs of 2014, Barney maintained a studio in Long Island City, Queens. ![]() By September 2013, Barney and Björk were no longer a couple Björk chronicled the breakup in her 2015 album Vulnicura. In 2002, Barney had a daughter with his then partner, the singer Björk, with whom he lived in a penthouse co-op in Brooklyn Heights. ![]() In the 1990s Barney moved to New York, where he worked as a catalog model, a career that helped him finance his early work as an artist. His earliest works, created at Yale, were staged at the university's Payne Whitney Gymnasium. īarney was recruited by Yale University in 1985 to play football and planned to go into pre-med, but he also intended to study art. It was there where he was first introduced to the art scene. His parents divorced and his mother, an abstract painter, moved to New York City, where he would frequently visit. He lived in Boise, Idaho from 1973 to 1985, where his father got a job administering a catering service at Boise State University and where he attended elementary, middle, and high school. Matthew Barney was born March 25, 1967, as the younger of two children in San Francisco, California, where he lived until he was 7. Between 19, he created The Cremaster Cycle, a series of five films described by Jonathan Jones in The Guardian as "one of the most imaginative and brilliant achievements in the history of avant-garde cinema." He is also known for his projects Drawing Restraint 9 (2005), River of Fundament (2014) and Redoubt (2018). His early pieces were sculptural installations combined with performance and video. His works explore connections among geography, biology, geology and mythology as well as themes of conflict and failure. Revisiting Barney’s Cremaster Cycle now offers the opportunity to ask what becomes of the exclusionary and exhaustive world-making performances of the Anthrop once he has placed such extreme stress on himself and his mental, social and environmental ecologies, so that any mutual support system is rendered close to exhaustion.Matthew Barney (born March 25, 1967) is an American contemporary artist and film director who works in the fields of sculpture, film, photography and drawing. What Barney reveals is a man-form at the point of exhaustion, where expressions of life are composed as endurance tests, as competitions or ideal games where there are neither winners nor losers, though all parties are likely to transform beyond recognition. The anthropocene can be described as a scene carved out by ‘man’ at the massive scale of the geological, providing a catch-all term for the global extent of environmental transformation produced through ‘man’s’ seemingly inexhaustible industry, his insatiable productions and consumptions. ![]() A mutual if asymmetrical transformation takes place in the encounter between man-form and environment-world, and the feats of aesthetic labour depicted and also performed by Barney himself are prescient in their anticipation of a term that has recently gained considerable conceptual leverage, and that is the anthropocene. This essay returns to the posthuman becomings of man that populate Barney’s elaborately cross-referenced, aesthetic pluriverse, in particular addressing how the man-form labours amidst and on his environment-worlds, inclusive of the architectural augmentations that assist in the production of such worlds. It is now well over a decade since the artist Mathew Barney’s epic work, the Cremaster Cycle was completed. ![]()
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