![]() Barney, who was born in 1967, first came to the art world’s attention with a New York solo show in 1991. His images, with their reduction of the body to smears and stains, and emphasis on redemption through fleshly mortification, suggest sources in penitential religion, filtered through Duchamp, Sade and extreme sports. Barney’s drawings of the past two decades have the look of precious pages from sacred books. Goldsmith Foundation, and The Foundation-to-Life.The Morgan Library, with its Gospels, missals and reliquaries, is just the right place for “Subliming Vessel: The Drawings of Matthew Barney,” the first survey of graphic work by the most medievalizing of American contemporary artists.Įncased in thick, pale, greasy-looking plastic frames, Mr. Major underwriting for Season 1 of Art in the Twenty-First Century is provided by Robert Lehman Foundation, PBS, National Endowment for the Arts, Corporation for Public Broadcasting, Rockefeller Brothers Fund, Agnes Gund and Daniel Shapiro, The Allen Foundation for the Arts, The Broad Art Foundation, The Jon and Mary Shirley Foundation, Bagley Wright Fund, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, The Horace W. Public Relations: Kelly & Salerno Communications. ![]() Interns: Maytal Ahrony, Joyce Alcantara, Christina Darcy, Leslie Fritz, Johanna Goldfeld, Susannah Gust, Sage Lehman, Kelly McCoy, Genevieve Mercatante, Jeff Seelbach, & Stacy Wu. Ryle Tamberelli Video TenniSport University of Texas, Austin & Darin Webb. ![]() Grace Guggenheim Museum Russell Hassell John McEnroe Gallery KNOWMAD Confederacy Spike Lee Bruce Mac Corkindale Steve Malmberg, Queens Museum Cara Mertes Tom Miller Margarita Moreno Carter Mull Museum of Modern Art, New York Chris Pullman Project Row House Nick Robinson Chelsea Romersa Matt D. Chaney Cincinatti Art Museum City Lights Susan Delson David Ebner Frederick R. Baker Alison Beall Jamie Bennett William Bush Dr. Special Thanks: Fareed Armaly Art Car Museum Anne C. Post-Production Supervisor: Michael Weingrad & Keir Randall.Īrtworks courtesy of: Matthew Barney Michael Ray Charles Mel Chin Andrea Zittel Andrea Rosen Gallery Frederieke Taylor Gallery Barbara Gladstone & Tony Shafrazi Gallery. Sound Mix: Tony Volante & Soundtrack, New York. Sound Editing: Margaret Crimmins, Greg Smith, & Dog Bark Sound. On-Line Editor: Don Wyllie & Frame:Runner NYC. Animation, Visual Effects & Compositing: Spontaneous Combustion. Art Design and Direction: Open, New York. Driver/Special Effects: Bob Bass.Ĭreative Consultant: Ed Sherin. Sound Recordist/Producer: Mikael Manoukian. Director of Photography/Sound/Producer: Wes Sandel.ĭevil’s Night Commercial | Director: Helen Nagge. Producer: Manuel Pellicer & Kathleen Pellicer. Mel Chin Houston Segment | Director: James Harithas. Introductory Segment | Artwork: Barbara Kruger. Assistant Avid Editor: Matt Prinzig & Kate Schmitz. Animation Stand Photographer: Marcos Levy & City Lights. Production Assistant: Steve Carrillo, Courtney Harrell, & Kevin Tierney. Gaffer/Grip: Ned Hallick, John Roche, & Wilson Waggoner. Sound: Rick Albright, Stuart Deutsch, Andrew Garrison, Steven Robinson, Gary Silver, & Bill Wander. Assistant Camera: Jarred Alterman, Steve Carrillo, Brian Hwang, Alan Pierce, Beth Puorro, & Kipjaz Savoie. Additional Photography: Adam Larsen, Laura Recht, & Deborah Shaffer. Director of Photography: Ken Kobland & Joel Shapiro. Researcher: Quinn Latimer & Wesley Miller. Executive Producer & Curator: Susan Sollins. ![]() Created by: Susan Sollins & Susan Dowling.
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