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Matthew Barney (b. 1967)
Cremaster 5: Her Giant
incised with the artist's mark (on the reverse)
colour coupler print in acrylic frame
52¾ x 42 5/8in. (134 x 108.3cm.)
Executed in 1997, this work is number six from an edition of six plus two artist proofs.
Cremaster 5: Her Giant
incised with the artist's mark (on the reverse)
colour coupler print in acrylic frame
52¾ x 42 5/8in. (134 x 108.3cm.)
Executed in 1997, this work is number six from an edition of six plus two artist proofs.
Matthew Barney (b. 1967)
Cremaster 5: Her Giant
incised with the artist's mark (on the reverse)
colour coupler print in acrylic frame
52¾ x 42 5/8in. (134 x 108.3cm.)
Executed in 1997, this work is number six from an edition of six plus two artist proofs.
Cremaster 5: Her Giant
incised with the artist's mark (on the reverse)
colour coupler print in acrylic frame
52¾ x 42 5/8in. (134 x 108.3cm.)
Executed in 1997, this work is number six from an edition of six plus two artist proofs.
Barbara Gladstone Gallery, New York (May 1998.)
Acquired from the above by the present owner.
Acquired from the above by the present owner.
E. Janus (ed.), Veronica's Revenge: Contemporary Perspectives in Photography, Zurich, Berlin and New York 1998 (another from the edition illustrated, p. 160).
R.D. Hodge, "Onan the Magnificent: The Triump of the Testicle in Contemporary Art", in Harper's Magazine, 2000 (another from the edition illustrated, p. 77).
W. Schoppmann, P. Friese and E. Schmidt (eds.), Ohne Zögern: Die Sammlung Olbricht Tiel 2 (Without Hesitation: The Olbricht Collection Part 2), Heidelberg 2001 (another from the edition illustrated, p. 49).
R.D. Hodge, "Onan the Magnificent: The Triump of the Testicle in Contemporary Art", in Harper's Magazine, 2000 (another from the edition illustrated, p. 77).
W. Schoppmann, P. Friese and E. Schmidt (eds.), Ohne Zögern: Die Sammlung Olbricht Tiel 2 (Without Hesitation: The Olbricht Collection Part 2), Heidelberg 2001 (another from the edition illustrated, p. 49).
Washington D.C., Hirshhorn Museum and Sculpture Garden, Regarding Beauty: A View of the Late Twentieth Century, October 1999-January 2000, no. 8 (another from the edition exhibited, illustrated, p. 83). This exhibition later travelled to Munich, Haus der Kunst, January-April 2000.
Dublin, Irish Museum of Modern Art, Matthew Barney: Glen Dimplex Artists Award Exhibition, May-October 2001 (another from the edition exhibited).
Arken, Museum for Modern Kunst, Veronica's Revenge, June-November 2000 (another from the edition exhibited). This exhibited later travelled to Sydney, Museum of Contemporary Art, November 2000-March 2001.
Cologne, Museum Ludwig, Matthew Barney: The CREMASTER Cycle, June-September 2002 (another from the edition exhibited, illustrated in colour, p. 407). This exhibition later travelled to Paris, Musée d'Art Moderne de la Ville de Paris, October 2002-January 2003 and New York, Solomon R. Guggenheim Museum, February-June 2003.
Dublin, Irish Museum of Modern Art, Matthew Barney: Glen Dimplex Artists Award Exhibition, May-October 2001 (another from the edition exhibited).
Arken, Museum for Modern Kunst, Veronica's Revenge, June-November 2000 (another from the edition exhibited). This exhibited later travelled to Sydney, Museum of Contemporary Art, November 2000-March 2001.
Cologne, Museum Ludwig, Matthew Barney: The CREMASTER Cycle, June-September 2002 (another from the edition exhibited, illustrated in colour, p. 407). This exhibition later travelled to Paris, Musée d'Art Moderne de la Ville de Paris, October 2002-January 2003 and New York, Solomon R. Guggenheim Museum, February-June 2003.
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