![]() ![]() An introduction by Nancy Spector, essay by cultural critic Maggie Nelson, and a new text by the artist offer a key to understanding major themes that appear throughout Barney's oeuvre. The exhibition is accompanied by Matthew Barney: OTTO Trilogy, an in-depth publication distributed by Yale University Press, that traces the progression of the artist’s three most significant early projects : Facility of INCLINE, Facility of DECLINE, and OTTOshaft. This large-scale work includes 44 cast petroleum wax and jelly dumbbells punctured with the same ice screws and carabiners Barney used to scale the gallery ceiling in BLIND PERINEUM. As artist/creator, Barney both lionized and broke down the male body, rescaling it, placing it in a constant, looping state of becoming and unbecoming itself. The climbing path featured in those pivotal early videos is recreated in the Chelsea gallery forming a guide through the sculptures, including for the first time in this configuration, DRILL TEAM: screw BOLUS, an expansive and intricate installation that occupies its own room. These videos set the stage for an elaborate narrative featuring Oakland Raider Jim Otto, and the escape artist Harry Houdini, a story line that incorporates the two sculptures, REPRESSIA and TRANSEXUALIS , which bookend the exhibition. Matthew Barney follow Facility of DECLINE Installation view, Gladstone Gallery New York Matthew Barney - Photo: David Regen Courtesy the artist and Gladstone. And I find the edge again, where the language gives. When I reread Baldwin, at his best, I am undone. Matthew Barney, Art in America, October 6, 2016. There is no line of demarcation, really, that separates us from another’s pain, is a paraphrase of what Baldwin wrote and would say for us again. Matthew Barney, Facility of DECLINE (Installation View) Through video, sculpture, photography, and performance, Barney builds a foreign, occasionally unnerving realm within the gallery, immersing himself and his viewers in corporeal experiments centered on fixated notions of sexuality and its perpetual manifestation in society. Recently, the artwork was acquired by LACMA and is now on display for visitors. This room-sized sculptural installation was first showcased at his breakout 1991 solo exhibition, Facility of DECLINE. Matthew Barney: ‘Facility of DECLINE,’ The New York Times, October 7, 2016. Matthew Barney’s seminal installation, REPRESSIA (decline), is a vital part of his visual language and sets the stage for his Cremaster cycle of films. In October 1991, two filmed actions, BLIND PERINEUM and RADIAL DRILL, were performed by Barney, on-site at the gallery. Matthew Barney Tells a Complex Narrative With an Idaho Wolf Hunt and a Copper Tree in ‘Redoubt’ at Yale, art fix daily, March 4, 2019. In a presentation that mirrors the original moment, but does not replicate it, Barney’s works transform complex personal and historical narratives into sculptural objects, employing an unusual range of materials pioneered by the artist: petroleum jelly, prosthetic plastic, tapioca, and cast sucrose. 515 West 24th Street September 9 OctoOpening September 8, 6 8 pm. Celebrated for works blending performance, video, and sculpture, Matthew Barney has created complex narratives that emerge across series since his earliest exhibitions. See it on its opening day, Sunday, July 23.Marking a continued collaboration between the artist and gallery, key sculptures, videos, and drawings from the series will be reunited for the first time in twenty-five years. Recently acquired by LACMA, this room-sized sculptural installation established Barney’s visual language and anticipates the corporeal drive of his Cremaster cycle of five films, all of which feature performance across different sites and timelines. As with many of Barneys books, it included stills from the films alongside associated drawing and sculptures. ![]() Curated by Daniel Belasco, the exhibition and its thorough catalogue celebrate Tomlin (1899 1953) and explore the reasons for. What the show, Facility of DECLINE, isn’t, is a recreation of Facility of INCLINE, Facility of DECLINE, or OTTOshaft, the names for the original individual parts of Barney's first. Facility of Incline and Facility of Decline. Matthew Barney’s REPRESSIA (decline)is a seminal installation from his breakout 1991 solo exhibition Facility of DECLINE. Bradley Walker Tomlin: A Retrospective pays long overdue homage to an artist whose contributions to Abstract Expressionism have been relatively overlooked.
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