MATTHEW BARNEY (NÉ EN 1967)
MATTHEW BARNEY (NÉ EN 1967)
MATTHEW BARNEY (NÉ EN 1967)
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This lot is offered without reserve. ƒ: In additi… Read more
MATTHEW BARNEY (NÉ EN 1967)

Cremaster I: Goodyear, 1995

Details
MATTHEW BARNEY (NÉ EN 1967)
Cremaster I: Goodyear, 1995
tirage argentique, dans cadre de l'artiste
signé au feutre (dos du cadre)
image/feuille : 72.5 x 98.5 cm. (28 ½ x 38 ¾ in.)
cadre : 82 x 107.5 cm. (32 ¼ x 42 3/8 in.)
Cette oeuvre est le numéro six d'une édition de six exemplaires.
LOT VENDU SANS PRIX DE RÉSERVE
Provenance
Barbara Gladstone Gallery, New York
Christie's, New York, First Open Post-War and Contemporary Art, 10 mars 2011, lot 122
Acquis directement lors de cette vente par le propriétaire actuel
Literature
Catalogue d'exposition, Matthew Barney: Pace Car for the Hubris Pill, Museum Boymans-van-Beuningen, Cantz Verlag, Rotterdam, 1995, pp. 38-39.
Uta Grosenick et Burckhard Riemschneider, Art at the turn of the millennium, Taschen, New York, 1999, cat. no. 4, p. 60.
Catalogue d'exposition, Matthew Barney: The Cremaster Cycle, The Solomon R. Guggenheim Foundation, New York, 2003, pp. 122-123.
Special notice
This lot is offered without reserve. ƒ: In addition to the regular Buyer’s premium, a commission of 5.5% inclusive of VAT of the hammer price will be charged to the buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit. (Please refer to section VAT refunds) This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection details.
Further details
GELATIN SILVER PRINT IN ARTIST'S FRAME; SIGNED IN FELT PEN (FRAME BACKING BOARD)

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Jude Quinn
Jude Quinn Senior Specialist

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Lot Essay

Cremaster is part of a series of five films directed by Matthew Barney. The title refers to the cremaster muscle. In this first film, the character, a young woman trapped under a table inside a blimp, flies over a football stadium. She composes figures with grapes that are reflected in the stadium by dancers, in the manner of a 1930 musical. Like Salvador Dali or Luis Buñuel, Matthew Barney creates quirky, avant-garde imaginings full of myths, symbols and metaphors.

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