![]() Unfortunately here he "has something to say." Fragments of actual stories appear where they were avoided in the other projects. He understand the first and is wholly incompetent in the second. Or you can be narratively strong using cinematic form, which is visual in a different way. You can be visually strong in terms of pure form. Where he gets into trouble is when he tries to impose narrative. The projects as whole compositions collapsed under their heft, but when they impressed, they really did. ![]() He's a bit too much preoccupied with notation than form, disconcerting in a sculptor, but "Drawing Restraint" and "Cremaster 1" had moments that were transcendent. Where I stand: I'm watching the Cremasters in numeric sequence and have seen number one. It would be simple if he were worthless, but he isn't. Guggenheim Museum.Barney is starting to drive me crazy. His work is in major public collections including those of the Dallas Museum of Art the Museum of Contemporary Art, Chicago The Museum of Modern Art, New York Tate Gallery the Whitney Museum of American Art, and the Solomon R. Among his best-known works are the films in the Cremaster cycle, which explore processes occurring inside and outside the body.īarney’s accolades include the Europa 2000 Prize in the Aperto division of the 1993 Venice Biennale and the Hugo Boss Prize from the Solomon R. His sculptures are often composed of unique materials, such as industrial reinforcing plastic and silicone, while his films create unique and profound atmospheres with deliberate pacing and sculpted sound. He became increasingly active as an artist in the early 1990s, and since his solo exhibition at the San Francisco Museum of Modern Art in 1991, has prolifically produced films, sculptures, and works in other media. After completing pre-med studies at Yale University in 1989, he studied art and physical education. Matthew Barney was born in 1967 in San Francisco, and lives and works in New York City. As the ship sails on, the story comes to a stunning and dramatic conclusion when their figures slowly metamorphose into white whales. On the second deck of the ship a foreign man and woman dressed in traditional Japanese costume, played by Barney and Björk, are guests at a tea ceremony, and the time-honored and meticulous actions of the tea master continue as the two characters form a silent bond. Fabrication of the sculpture cast in petroleum jelly proceeds steadily through the use of whaling techniques and implements, and the story reaches a climax when the process of removing the mold commences against a backdrop of glistening icebergs in the Antarctic Circle. Petroleum jelly is poured into a huge mold on the deck, and the surface of the petroleum jelly as it gradually solidifies over several weeks provocatively reflects the ever-changing state of the sea. ![]() At an oil refinery in Japan, a tanker carrying a large quantity of molten petroleum jelly arrives at a port where a huge industrial whaling ship is anchored, accompanied by a procession led by various animals and performers. The film in Drawing Restraint 9 is without dialogue, and presents an operatic, abstract fairy tale comprised of imagery and music. Even 17 years after its release, the message contained in the work, which addresses issues of the human body and the world around it, the activity inside and outside the body, resonates as powerfully as ever with viewers today. Icelandic musician Björk composed music for the film and the exhibition installation, and subsequent international tour.Īs the title suggests, Drawing Restraint constrains the body during the act of drawing, and grapples with the unpredictable markmaking and forms that emerge from such restraints. Shot mainly in Japan, the film presents a distinct visual interpretation of Japanese culture. The work, which conveys Japanese cultural themes from whaling to the tea ceremony, unfolds in a variety of media including film, sculptural installation, and photography. This exhibition primarily focuses on Drawing Restraint 9, the ninth work in the Drawing Restraint series which Barney launched in the late 1980s and which consists of films, drawings, and sculptures, along with related works that introduce the narrative, motifs, and characters of the series.Īs a new installment in the Drawing Restraint series, Drawing Restraint 9 had its world premiere at Barney’s first major solo exhibition in Japan, held at the 21st Century Museum of Contemporary Art, Kanazawa in 2005. He has fascinated the contemporary art world since the 1980s with sculptures, films, performances, and works that integrate these media. Matthew Barney is one of the world’s leading artists, embodying the 21st century with his endeavors to fuse physical and virtual-data sensation through intimately related sculpture and film practices. ![]()
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