Matthew Barney

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Matthew Barney (2007)

Matthew Barney (born March 25, 1967 in San Francisco , California ) is a contemporary American media artist . In his works he combines sculptural environments , installations and drawings with performance and video . His best-known works include the Cremaster cycle (1994–2002), a five-part art film made in non-chronological order, and the epoch-making film opera River of Fundament (2006–2014), which he developed together with the composer Jonathan Bepler .

Life

Childhood and youth

Matthew Barney is the son of Robert Barney and Marsha Gibney. When Matthew was six, the family moved to Boise, in the northwestern United States . After his parents divorced, his mother, a painter, moved to New York. Matthew and his sister stayed in Boise with their father.

In high school he played on the football team in the position as quarterback and was active in wrestling and wrestling , which he later addressed in his work. Regular visits to his mother in New York intensified his interest in art.

Artist career

Barney left his hometown of Boise to study medicine at Yale University in New Haven . Due to poor performance, after two semesters he abandoned his career aspiration to become a specialist in plastic surgery and switched to art.

His talent and commitment was noticed very early on by fellow students who had recommended him for the advanced program of the School of Art , in which he later participated. During his studies he worked as a photo model a. a. for Ralph Lauren .

Already in his first works, Barney practically explored the transcendence of physical limitation in a multimedia art with sculptures, feature films, video installations, photographs and drawings. In 1989 he finished his studies in fine arts with the thesis “Field Dressing (orofill)” , this work shows an installation (art) with videos and sculptures that show the physicality of sport, the fetishistic character of sports equipment and physical endurance dedicate. At the end of the 1980s, Barney became known to a wider public through sporty performances and room installations.

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Freely phrased

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In his films and sculptures, he deals with topics from biology, sexuality, history, mythology, sports and medicine, some of which relate to legendary figures such as the escape artist Harry Houdini , the double murderer Gary Gilmore , the American football star Jim Otto or General MacArthur , as well as relate figures from mythology .

Drawing Restraint (1988-2005)

Description and photographs (external web links)

Between 1988 and 2005, Barney developed the 12-part series Drawing Restraint, in which he illustrated the principle of tension and counter-tension in the context of action art. In doing so, he constructed spatial situations that imposed physical restrictions on him, while the climbing and gymnastics acts on walls and ceilings could be seen using utensils, he jumped on a trampoline, climbed over obstacles, hindered himself with surgical plastic tubes and placed various in this radius of action Drawings on paper.

The elements used, such as B. ordinary climbing equipment, was mainly combined in organically shaped sculptures with objects such as a weightlifting bench or dumbbells, the appearance, shape and use of which, by the almost naked performer, made one think of bizarre, auto-erotically charged exercises.

In particular, the first parts of the series “Drawing Restraint”, which consists of twelve parts, deal mainly formally with sculpture and drawing, thematically including the process of creating visual form from physical resistance. This has its origins in athletic experiences as a football player and wrestler.

“ During training, the muscle develops according to the principle of tension and counter-tension. Under repeated extreme stress, it begins to burn and to a certain extent collapse, but then it heals and gets stronger and stronger. I wanted to use this process of creating form out of resistance for art. " "

While the first Drawing Restraint projects focus on drawing with physical limitations in rooms with obstacle courses, the Drawing Restraint 7 project from 1993 is a room installation in connection with a video that is shown on three monitors. Barney combines mythologies with his work. Three satyrs drive through Manhattan in a limousine. While the satyr child in the front seat chases his own tail like a young puppy, two adult satyrs (probably male and female) wrestle with each other in the back seat, the female trying to trace a horn with the tip of the male's horn. Satyrs are mythical creatures from Greek mythology and represent animal lust as the entourage of the wine god Dionysus. Later in the Cremaster Cycle, Barney invokes these creatures to symbolize undifferentiated, sexual energy.

"The Field"

Drawing Restraint 8 from 2003 brings the symbol typical of Matthew Barney of a vertical oval and a horizontal narrow rectangle / bar that cross in the middle to the foreground. The oval represents an organic body, while the bar symbolizes the self-imposed resistance that promotes growth. Similar to muscles that need weights to grow. If the horizontal bar is removed, two half ovals meet and the pent-up sexual energy is released, but this leads to the fact that the organic body begins to shrink / wither. This symbol appears in all Cremaster films.

In the course of the Drawing Restraint project, Matthew Barney came to an insight that generally forms the foundation of the DR series: The "three phases of the path", which consist of situation, condition and production and are supplemented by the bolus.

situation

Barney sees the situation as the gross drive, the sexual energy without any restriction by discipline or direction. Situation is undifferentiated sexual energy and is characterized by hunger and indiscriminate consumption - similar to a mouth. The situation according to Barney is perfectly described in the representation of the female and male reproductive system in the first 6 to 7 weeks of a fetus, in which no sex has yet formed.

condition

The condition is the gut, so to speak. It disciplines the oral intake of situations and gives shape to undifferentiated sexual energy. According to Barney, the condition works like a stomach that digests the situation, nourishes itself and thus leads to growth.

production

The production is the anal expulsion of the "path". A finished product is created.

Unit Bolus: The bolus, a two-headed dumbbell, closes the 3-phase path by completing the mouth of the situation and the anus of production. It enables the observation of an endless loop between desire and discipline.

Part of the series is the 2005 art film Drawing Restraint 9 , which is stylistically different from the other works in the cycle.

Field dressing (1989–1990)

Photography (external web link)

"Field dressing" refers to the gutting of game in the wild after the hunt. "orifill" is a combination of the English words orifice - opening and to fill.

Matthew Barney's first installation combined performance, sculpture and video into the work “Field Dressing (orifill)” , in which the underlying relationship between action and object becomes clear in the later work. The subject of the work is the mania for performance of extreme sports, the fetishistic character of sports equipment, as well as the possibility of creating a form through resistance and releasing potential forces through discipline.

The environment "Field Dressing (orifill)" consists of two video monitors and some sculptures related to the videos in the room. In the videos, Barney presents himself naked with some kind of climbing gear. He climbs up and down a mast and some ropes and smears cold petroleum jelly into his body orifices at regular intervals.

At the beginning of the 1990s, Barney began to expand the work and its reference space as well as the actors and actors in his performances. He also uses organic and synthetic materials in the material language, including the petroleum jelly already used in the “Drawing Restraint” cycle. With the increasing international attention of the artist an explicit internationalization of his personal mythology followed.

In New York in 1991 the artist made his first public appearance with the performance " MILEHIGH Threshold: Flight with the ANAL SADISTIC WARRIOR" , in which he artistically related the room to his body while hanging from the ceiling.

OTTOshaft (1992)

Photographs (external web links)

Early works such as “OTTOshaft” (1992), exhibited at Documenta 9, are based on sculpture, i.e. the working principle of creating a sculpture, plus the aspect of depicting an event in real time so that it was recorded on video. In the following projects, this process has partly been transformed into narrative narrative structures that can be recognized in the Cremaster cycle.

For the documenta performance in a parking garage in Kassel, a football team was replaced by a troop of bagpipe players who had been identified as Scottish clan members via their tartans , and who a little later were dueling satyrs as no less competitive opponents of the soldierly and athletically disciplined uniform wearers Pop up.

At later OTTOshaft exhibitions, various organic materials with plastic objects and three monitors hanging from the ceiling in a room become an installation. The videos on the monitors (with the titles OTTOdrone, OTTOshaft and AUTOdrone) show various fanatically executed actions (including puzzles).

In later projects, Barney himself plays a wide variety of roles as protagonist in his works and films. OTTOshaft is the middle section of the "Jim Otto Suite" trilogy.

Cremaster Cycle (1994-2002)

In 1994 Barney began work on his monumental “Cremaster Cycle”, an art film consisting of 5 parts, made in non-chronological order, in which a conflict of prenatal development of a reproductive system is at the center. The film series is named after the Latin word for the testicle lifter, the cremaster muscle , which is a component of the thermoregulation of the testicles .

The “Cremaster Cycle” forms a self-contained aesthetic system. It consists not only in the medium of film, but also in photography, drawing, and sculpture, which is associated with each episode. Barney himself describes this as a closed, autobiographical or narcissistic system in which a visual language has nested like a pearl in an oyster. There is autobiography in the Cremaster films, for example. For example, in Cremaster1 that the blue Astroturf (the football field) was filmed in Bronco Stadium. Here Barney himself played football in high school. Cremaster 2 was filmed in multiple locations that Barney visited as a young boy and Cremaster3 is set in New York, where Barney still lives to this day. The close collaboration with the New York composer Jonathan Bepler, who took on the musical design of Cremaster 2, Cremaster 3 and Cremaster 5, is also important in this context.

The film series follows two basic ideas:

  1. The idea of ​​sexual differentiation in the uterus.

According to this, before the arrival of the differentiating male hormones, Cremaster 1 plays in an exclusive femininity. Unlike the other Cremaster films, Matthew Barney consequently does not play in this film.

  1. The idea of ​​the creative process:

Accordingly, Cremaster 1 is the spark of the idea, C2 is the rejection of the idea, in C3 the artist falls in love with his idea, in C4 panic grows when the idea is about to be realized and in C5 the final resolution / realization of the Idea instead.

The curator Nancy Spector described the “Cremaster Cycle” as a force field driven by inner motives that crystallizes in the course of its development. This is visually represented symbolically as a logo in the form of a horizontal rectangle and a vertical oval shape. For Barney, the oval represents: “ the body, the rectangle the self-imposed resistance. The latter could be seen as something positive, as an aid to creativity. Muscles need weights to grow, an escape artist needs the handcuffs to perform their action. "Drawing Restraint 9" is an attempt to remove the obstruction. The body can indulge in sensuality and find peace. So it was possible for a love story to develop. "

When asked if people are also seen as sculptures or actors in the films, Barney answered? “ I wouldn't call them sculptures, but neither would actors. That has more to do with performance. The works that I did before I took part in “documenta 9” in 1992 were actually based on sculpture; their video aspect was more an attempt to depict an event in real time. That has slowly turned into narrative structures. The "Cremaster" project still comes from this discipline. The people in the "Cremaster" films do what I've done in previous projects: they activate a system of objects and perform tasks. It's more about activating a space than projecting a dramatic arc. "

Cremaster 1 (1995)

40min. with Marti Domination

Cremaster 1 is set in Barney's hometown of Boise, Idaho, and depicts the state in which a reproductive system has not yet undergone any sexual differentiation, or in other words, the testicle is the least prominent. This is the most feminist film in the Cremaster cycle.

The film takes place on the blue Astroturf of the Bronco Stadium. Two airships float above the field, each with an almost identical room. Decorated in a futuristic white, with a huge table in the middle of which stands a sculpture that resembles a reproductive system (similar to two ovaries and their ladder). Circling the sculpture and covering almost the entire table, grapes lie in great numbers on the table. They are green in one zeppelin and purple in the other.

Under each of these tables is the blonde Goodyear (Marti Domination), who lies on a kind of platform and is shielded from the rest of the room by a large white tablecloth. Around the table in each airship are 4 stewardesses who do not notice Goodyear under the table. This in turn begins to tear a small hole in the tablecloth and gradually gets hold of grapes from the table. Soon the hole gets bigger and bigger and several grapes roll onto the ground. Goodyear forms formations / patterns from the grapes lying around (for example the well-known Barney symbol for positive restrictions (oval and bars), the bolus (the dumbbell), cell division and a reproductive system).

At the same time, show dancers arrive under the airships on the blue Astroturf and begin to line up in formations that Goodyear lays over them from grapes. The stewardesses watch the spectacle and smoke.

Goodyear then sticks his arm through the hole in the tablecloth and rotates the sculpture on the table 180 degrees, which causes her arm to be coated with Vaseline. She then wipes them off on the grapes.

In the final scene, Goodyear appears in the airships as well as on the field in the midst of the revue dancers, from where she lets two balloons fly towards the camera. She also keeps the airships on a leash and is shown sitting on a throne that resembles a football goal (this in turn resembles a reproductive system).

The credits run over a beehive pattern, which acts as a leitmotif for Cremaster 2.

Cremaster 2 (1999)

76min. with Norman Mailer, Matthew Barney

Cremaster 2 is vaguely based on the life of the Mormon double murderer Gary Gilmore, who is played by Barney in the film.

The author of the book "The Executioner's Song" Norman Mailer plays the escape artist Harry Houdini in the film. Mailer had made the claim in his book that Gary Gilmore could be a grandson of Houdini.

To express the conflict between the sexes, Barney chooses the metaphor of the queen bee and her drones for Cremaster 2. The beehive, which is consistently represented in the first scenes, is a symbol of the Mormons (symbolizes the importance of the collective over the individual) and is also depicted on the flag of the US state of Utah.

The lyrics of the songs in this film are excerpts from letters Gilmore wrote with his girlfriend Nicole Baker before his execution in prison.

Cremaster 3 (2002)

182min. with Richard Serra, Aimée Mullins, Matthew Barney

Cremaster 3 is very much about Irish mythology and Freemasonry in the time the Chrysler Building was built (1930). The dominant colors in this film are orange and green like on the Irish flag. The film corresponds to half of the gender differentiation.

At that time there were a great many Irish masons working on the great New York skyscrapers. There were three grades among them: apprentice, journeyman and master.

The film begins with the Celtic legend of the Giant's Causeway. Finn was a relatively small giant in Ireland who wanted to compete with the giant Benandonner from Scotland. So that the two rivals could find each other, Finn built the path out of stones (Giant's Causeway) across the sea. When Benandonner was on the march, the earth shook. Oonagh, Finn's wife took her husband and wrapped him in shawls so that Benandonner thought it was Finn's child and not himself. Then he became frightened and took it away.

Then the film moves to 1930 New York, where the Chrysler Building is being built. Gary Gilmore in reincarnation as a woman's corpse crawls out from under the building and is led by four undertakers to the lobby, where he is placed in a Chrysler Imperial .

Later the film is interrupted by an intermediate section called "the order".

The Order

"The Order" is set in the famous Guggenheim Museum in New York City. Here Matthew Barney - still as a bricklayer's apprentice - goes through the various levels of the museum in the form of five "levels", like a computer game. The levels in turn each symbolize a Cremaster film and put everything together. The architecture of the Guggenheim Museum vaguely resembles that of a beehive, which alludes to both the Freemasons and the Mormons in Cremaster 2.

The floor of the museum is covered with blue lawn (see C1).

Level 1

"The Order of the Rainbow". Here revue dancers with tap shoes and lamb costumes dance various choreographies. For the Freemasons, the lamb symbolizes the first degree and symbolizes innocence and purity. The white tap dance shoes are similar to those of "Loughton Candidate" from C4.

Level 2

The hardcore bands Agnostic Front and Murphy's Law battle each other with their respective fans. Here Barney has to solve a puzzle in the ground between the rabidly dancing fans, which later results in the Freemasons symbol for camaraderie.

Level 3

Here waits Aimée Mullins (Model and Paralympics participant) on Barney, first as a beauty in a white apron dress with glass high heels, then as a leopard-like creature that is trying to kill him. It stands for the 3rd degree of Freemason and can also be seen as Barney's alter-ego. The apprentice mason kills the leopard woman, thus his double, and thus becomes a master mason.

Level 4

On the fourth floor, a kind of white, oversized plastic bagpipe in the shape of a ram and innumerable piles of whistle sticks await the apprentice mason. Here he has to throw 5 pipe sticks into the bagpipe body so that they complement the body perfectly, which in turn is reminiscent of the Scottish tradition of "caber toss" (throwing a tree trunk). These 5 whistle sticks represent the 5 pillars of Freemason affiliation.

Level 5

Artist Richard Serra plays himself hurling liquid petroleum jelly against a wall that gradually makes its way down to the first floor. The action also represents the timeline for "the order".

Drawing Restraint 9 (2005)

Part of the series is the 2005-2006 art film Drawing Restraint 9 , which was made on the occasion of an invitation to an exhibition in Japan. This takes place on the Japanese whaling ship Nisshin Maru and is the ninth work in a series of works by Drawing Restraint, which was initiated in 1987.

In Drawing Restraint 9, the "Field" is a shape filled with Vaseline, which is already at the center of the action in the Cremaster cycle, on the deck of a Japanese whaling ship.

The music for the film was composed by the Icelandic singer Björk .

Barney himself describes the film as a meditation on the act of creation, “on raw sexual energy and the discipline that requires design. And about how to stay creative by not freezing in forms, but constantly liquefying them. "

River of Foundation (2006-2014)

Based on the novel Ancient Evenings (German: Early Nights ) from 1983 by Norman Mailer .

Influence and inspiration

According to Barney, he found inspiration in American horror films such as Dance of the Devils , Friday the 13th , Great White Shark , The Omen , The Exorcist and Shining , as well as films by Busby Berkeley and NFL Films , a company that produces football Produced documentaries, commercials and television programs. Of particular importance were your own recordings that were recorded during the football game, which you later viewed and evaluated together after the game.

The video artists of the 1970s and 1980s such as Marina Abramović , Joseph Beuys , Chris Burden , Bruce Nauman and Vito Acconci were also influential, although he mostly saw snapshots from the films. Barney was particularly impressed by Joseph Beuy's material language. As with Beuys, fabrics like Vaseline play an important role in Matthew Barney's work. If one proceeds from an ontological-aesthetic interpretation, one can speak of metaphysics poured into Vaseline for both artists . In October 2006, an attempt was made to compare the aesthetic and conceptual similarities between the two artists in the exhibition “All in the present must be transformed: Matthew Barney and Joseph Beuys” at the Guggenheim Museum in Berlin and Venice. The exhibition was curated by Nancy Spector.

In the opinion of the curator of the Solomon R. Guggenheim Museum , Barneys 'artistic postmodern working method is shaped by the French philosopher Gilles Deleuze , whose concept of "multiplicity" is characteristic of Barneys' work and thus refuses to give a clear explanation.

Of particular importance are the visual artist Richard Serra and the writer Norman Mailer , who both play an important role in the "Cremaster Cycle" through their artistic work as well as through their own acting. Mailer is the author of the book " The Executioner's Song " published in 1979 , which u. a. tells about the murderer Gary Gilmore and the escapologist and magician Harry Houdini , who in turn are both protagonists of the "Cremaster Cycle". In the second part he plays the role of Harry Houdini. Richard Serra, who, like Barney, attended Yale University in New Haven and played the role of the architect Hiram Abiff in Barneys' "Cremaster Cycle 3" , as well as himself portraying himself by throwing Vaseline into a corner, as he did with him liquid lead in his work “Splashing” in the late 1960s.

During the creation of the work Field Dressing (1989–1990) from 1989–1990, he was influenced by the book “Creativity and Perversion” by the French psychoanalyst Janine Chasseguet-Smirgel .

Janine Chasseguet-Smirgel's thinking is based on the theory of an archaic matrix of the Oedipus complex, a theoretical model of early childhood development, based on the derivation of years of therapeutic and clinical practical experience with perverse patients and developed in an examination of the theoretical approaches of Sigmund Freud and Melanie Klein before entering the oedipal phase. The author underpins her findings with examples from mythology, theology and literature, which also plays an important role in later works such as the “Cremaster Cycle”.

From February 9 to February 19, 2006, Barney was a member of the jury at the 2006 International Film Festival in Berlin .

Collections

Filmography

  • 1995: Cremaster 4
  • 1996: Cremaster 1
  • 1997: Cremaster 5
  • 1998: March of the Anal Sadistic Warrior
  • 1999: Cremaster 2
  • 2002: Cremaster 3
  • 2005: De Lama Lamina
  • 2005: Drawing Restraint 9

Exhibitions

Solo exhibitions

  • 1989: Field dressing. Payne Whitney Athletic Complex, Yale University, New Haven
  • 1989: Scab Action. Video exhibition for the New York City Rainforest Alliance, Open Center, New York
  • 1991: Barbara Gladstone Gallery, New York
  • 1991: Stuart Regen Gallery, Los Angeles
  • 1991: Matthew Barney: New Work. San Francisco Museum of Modern Art
  • 1994: Portraits from Cremaster 4. Regen Projects, Los Angeles
  • 1996: Transexualis and Repressia. Cremaster 1 and Cremaster 4 , San Francisco Museum of Modern Art
  • 1997: Cremaster 5. Portikus, Frankfurt
  • 1997: Cremaster 5. Barbara Gladstone Gallery, New York
  • 1997: Cremaster 1. Kunsthalle Vienna
  • 1998: March with the Anal Sadistic Warrior , KunstKanaal, Amsterdam
  • 1998: Cremaster 5th Fundació La Caixa, Barcelona, ​​Spain
  • 1998: Cremaster 5th Rain Projects, Los Angeles
  • 1998: Cremaster 1st Public Art Collection Basel, Art Museum
  • 1999: Cremaster 2: The Drones' Exposition. Walker Art Center, Minneapolis / San Francisco Museum of Modern Art
  • for the 2000/2001 season: design of the iron curtain of the Vienna State Opera as part of an exhibition series conceived by museum in progress
  • 2002: Matthew Barney: The Cremaster Cycle. organized by the Solomon R. Guggenheim Museum, New York; opened at the Museum Ludwig, Cologne; then Musée d'Art Moderne de la Ville de Paris and Solomon R. Guggenheim Museum, New York
  • 2003: Matthew Barney in the Living Art Museum. Living Art Museum, Reykjavík
  • 2003: Boise Art Museum, Boise, Idaho
  • 2003: Matthew Barney - Cremasters. Astrup Fearnley Museet for Modern Art, Oslo
  • 2005: Matthew Barney: Drawing Restraint. 21st Century Museum of Contemporary Art, Kanazawa, Japan / Leeum, Samsung Museum of Art, Seoul
  • 2008: Matthew Barney: Drawing Restraint. Kunsthalle Vienna
  • 2010: Prayer Sheet with the Wound and the Nail. Laurenz Foundation, Schaulager Basel
  • 2011: DJED. Gladstone Gallery, Manhattan, New York, iron sculptures
  • 2014: Matthew Barney. River of Fundament , House of Art , Munich.
  • 2014: Matthew Barney: Drawing Restraint. , Art Gallery of Ontario , Toronto .

Retrospectives

  • 2002–2003: “Matthew Barney: The Cremaster Cycle”, organized by the Solomon R. Guggenheim Museum, New York; opened at the Museum Ludwig, Cologne; then Musée d'Art Moderne de la Ville de Paris and Solomon R. Guggenheim Museum, New York

Honors

literature

Web links

Museums to Matthew Barney

Art education

Image, video and audio recordings

See also

Individual evidence

  1. ↑ Mönchehaus Museum for Modern Art Goslar Matthew Barney Kaiserring 2007, Interview with Matthew Barney on October 5th, 2007: Students ask - the artist answers moenchehaus.de ( Memento of the original from November 28th, 2009 in the Internet Archive ) Info: The archive link became automatic used and not yet tested. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 64 kB) @1@ 2Template: Webachiv / IABot / www.moenchehaus.de
  2. ↑ Digital Arts and New Media - Matthew Barney Report danm.ucsc.edu ( Memento of the original from September 10, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / danm.ucsc.edu
  3. ↑ a b c Interview with Matthew Barney: Play me that song on the Sho . In: Spiegel Online - Kultur , April 16, 2006
  4. ↑ Drawing Restraint URL: http://www.drawingrestraint.net/
  5. ↑ Art Now: Matthew Barney: OTTOshaft tate.org.uk ( Memento of the original from January 1, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.tate.org.uk
  6. ↑ Artist Project Matthew Barney tate.org.uk ( Memento of the original from October 22, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.tate.org.uk
  7. ↑ "For me, a whaling ship is political architecture - the artist Matthew Barney on his new work" Drawing Restraint 9 "and the role of his wife Björk" . In: Die Welt , June 2006, interview
  8. ↑ "The rest is trust" . In: taz , June 4, 2002, interview
  9. ↑ Summary of the film reviews at Filmzeit film-zeit.de ( Memento of the original from May 19, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.film-zeit.de
  10. ↑ My blood for oil in the Frankfurter Allgemeine Sonntagszeitung on March 23, 2014, page 38
  11. ↑ New York Times Interview: Influences: Matthew Barney - by Karen Rosenberg newyorkmetro.com ( Memento of the original from June 24, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / newyorkmetro.com
  12. ↑ a b pbs.org - Art21: "CREMASTER 3" - on location at the Solomon R. Guggenheim Museum, NY pbs.org
  13. ↑ New York Times Interview - Influences: Matthew Barney - by Karen Rosenberg newyorkmetro.com ( Memento of the original from June 24, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / newyorkmetro.com
  14. ↑ a b Postmedia Magazin, Untitled, Issue 21, London, Spring 2000: Matthew Barney, Interview with Jonathan Jones postmedia.net ( Memento of the original from September 27, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked . Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.postmedia.net
  15. ↑ a b Interview with the curator Nancy Spector about the exhibition - " All in the present must be transformed: Matthew Barney and Joseph Beuys " deutsche-bank-art.com ( Memento of the original from December 9, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.deutsche-bank-art.com
  16. ↑ Modern Painters - The International Art Magazin / September 2006 / p. 67 modernpainters.co.uk
  17. ↑ Pulsschlag in New York in: Frankfurter Allgemeine Sonntagszeitung of October 2, 2011, p. 57.
  18. ^ Announcement on the exhibition , accessed on September 1, 2014.
  19. ^ Announcement on the exhibition , accessed on September 1, 2014.
  20. ↑ Further information, interview and press material ( memento of the original from January 18, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. to the Goslarer Kaiserring @1@ 2Template: Webachiv / IABot / www.moenchehaus.de


personal data
SURNAME Barney, Matthew
BRIEF DESCRIPTION American media artist
DATE OF BIRTH March 25, 1967
PLACE OF BIRTH San Francisco , California