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MATTHEW BARNEY (B. 1967)
PROPERTY FROM A PRIVATE SWISS COLLECTION
MATTHEW BARNEY (B. 1967)

Cremaster 5: Her Giant

Details
MATTHEW BARNEY (B. 1967)
Cremaster 5: Her Giant
signed, incised with artist's mark and dated 'Matthew Barney '97' (on the reverse)
color coupler print in artist's self-lubricating acrylic frame
52¾ x 42¾ in. (133.9 x 108.5 cm.)
Executed in 1997. This work is number five from an edition of six plus two artist's proofs.
Provenance
Barbara Gladstone Gallery, New York
Acquired from the above by the present owner, 1998
Literature
T. Morgan and M. Barney, Matthew Barney: Cremaster 5, New York, 1997, n.p. (illustrated).
E. Janus, ed., Veronica's Revenge: Contemporary Perspectives in Photography, Zurich, Berlin and New York, 1998, p. 160 (illustrated). R.D. Hodge, "Onan the Magnificent: The Triump of the Testicle in Contemporary Art", Harper's Magazine, 2000, p. 77 (illustrated). W. Schoppmann, P. Friese and E. Schmidt, eds., Ohne Zgern: Die Sammlung Olbricht Tiel 2 (Without Hesitation: The Olbricht Collection Part 2), Heidelberg, 2001, p. 49 (illustrated).
Exhibited
Washington, D.C., Hirshhorn Museum and Sculpture Garden and Munich, Haus der Kunst, Regarding Beauty: A View of the Late Twentieth Century, October 1999-April 2000, p. 83, no. 8 (illustrated, another example exhibited).
Dublin, Irish Museum of Modern Art, Matthew Barney: Glen Dimplex Artists Award Exhibition, May-October 2001 (another example exhibited).
Arken, Museum for Modern Kunst and Sydney, Museum of Contemporary Art, Veronica's Revenge, June 2000-March 2001 (another example exhibited).
Cologne, Museum Ludwig; Musée d'Art Moderne de la Ville de Paris and New York, Solomon R. Guggenheim Museum, Matthew Barney: The CREMASTER Cycle, June 2002-June 2003, p. 407 (illustrated, another example exhibited).
Salamanca, Domus Artium 2002, Baroque and Neo-Baroque. The Hell of the Beautiful, October 2005-January 2006 (another example exhibited).

Lot Essay

"The five chapters of the story are about an organism that is changing, and the system that changes that form alters from chapter to chapter...It's essentially about an imposed will onto the state of the [cremaster] form, sometimes in a very abstract way, sometimes in a more literal, biological way. But it's basically a structural word. It's being used as a way to tell the story, and not as a way to define a biological system at all" (Matthew Barney, pbs.org/art21/images/matthew-barney/cremaster-5-1997).

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