Matthew Barney Art for Sale: Prints & Originals

Born on March 25, 1967, in San Francisco, California, Matthew Barney grew up in Boise, Idaho. After graduating from Yale University in 1989, Barney quickly established himself in the art world with his bold and experimental approach, which often incorporates elements of performance and visual storytelling. His early works, primarily sculptural installations, laid the foundation for his later, more expansive projects.

Barney's oeuvre is marked by an interest in the interplay of biology, geography, and mythology, as he explores the physicality of the human form and its relationship to societal constructs. Notably, his Cremaster Cycle, a five-part film series created between 1994 and 2002, has been recognised for its accessibility and complexity. This work reflects his engagement with themes of sexuality, conflict, and the creative process itself.

Barney's career is punctuated by significant milestones. The Cremaster Cycle remains his most notable achievement, a visually arresting and multi-layered exploration of identity and creativity. This project has garnered international acclaim, leading to exhibitions in prestigious venues such as the Guggenheim Museum and the Museum of Modern Art. Each film within the cycle is accompanied by sculptures and photographs, creating a cohesive narrative that invites intimate and dynamic engagement from the viewer.

In addition to the Cremaster Cycle, Barney has continued to push the boundaries of his practice through films like River Of Fundament (2014). His exhibitions often draw attention to the physicality of the body, incorporating elements of sport and ritual, and have contributed to ongoing discussions around masculinity and the human experience.

Barney has received numerous accolades. In 1996, Barney won the first Hugo Boss Prize, awarded by the Solomon R. Guggenheim Foundation. His works have been collected by major institutions worldwide, solidifying his influence within Contemporary Art.

Barney’s work explores masculinity and violence, often through the lens of American culture and mythology. His video installation, Secondary, re-enacts a notorious 1978 football tackle that left one player paralysed, using actors in their 50s and 60s to portray athletes, thereby examining the intersection of masculinity and age. This piece builds on Barney’s longstanding interest in American masculine archetypes, as previously seen in River Of Fundament, where he utilised the character of Norman Mailer as a symbol of masculinity. Barney’s work suggests that while the cultural landscape has evolved, masculine archetypes still resonate powerfully in today’s society.
Barney’s work serves as a commentary on broader cultural and political shifts, often alluding to the decline of American ideals. In Secondary, he incorporates symbolic references, such as an image of the Roman Colosseum, hinting at parallels between the fall of the Roman Empire and America's current trajectory. Barney has previously expressed concerns about the polarised state of American society, tracing its roots to the isolated communities of his upbringing in Idaho. Through his installations and films, Barney reflects on the disintegration of America’s mythic narratives, engaging with themes of decay and obsolescence within both his personal and national history.