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Lot 111|PROPERTY FROM A PRIVATE SWISS COLLECTION
Matthew Barney (B. 1967)
Cremaster 4: Loughton Ram
Fermé14 April 2016
Prix réalisé
GBP 7,500
Plus d'informations
Matthew Barney (B. 1967)
Cremaster 4: Loughton Ram
signed and dated 'Matthew Barney 1994' (on the reverse)
C-print in artist's self-lubricating acrylic frame
33¼ x 23½in. (84.5 x 59.7cm.)
Executed in 1994, this work is number five from an edition of six plus one artist's proof
Cremaster 4: Loughton Ram
signed and dated 'Matthew Barney 1994' (on the reverse)
C-print in artist's self-lubricating acrylic frame
33¼ x 23½in. (84.5 x 59.7cm.)
Executed in 1994, this work is number five from an edition of six plus one artist's proof
Matthew Barney (B. 1967)
Cremaster 4: Loughton Ram
signed and dated 'Matthew Barney 1994' (on the reverse)
C-print in artist's self-lubricating acrylic frame
33¼ x 23½in. (84.5 x 59.7cm.)
Executed in 1994, this work is number five from an edition of six plus one artist's proof
Cremaster 4: Loughton Ram
signed and dated 'Matthew Barney 1994' (on the reverse)
C-print in artist's self-lubricating acrylic frame
33¼ x 23½in. (84.5 x 59.7cm.)
Executed in 1994, this work is number five from an edition of six plus one artist's proof
Barbara Gladstone Gallery, New York.
Acquired from the above by the present owner in 1995.
Acquired from the above by the present owner in 1995.
E. van Alphen, Art in Mind: How Contemporary Images Shape Thought, Chicago 2005, p. 120, no. 41 (another example from the edition illustrated, p. 122).
M. C. Taylor, Refiguring the Spiritual: Beuys, Barney, Turrell, Goldsworthy, New York 2012 (another example from the edition illustrated in colour, on the cover).
M. C. Taylor, Refiguring the Spiritual: Beuys, Barney, Turrell, Goldsworthy, New York 2012 (another example from the edition illustrated in colour, on the cover).
New York, Whitney Museum of Modern Art, 1995 Biennial, 1995 (another from the edition exhibited).
Paris, Fondation Cartier pour l’Art Contemporain, Matthew Barney, 1995 (illustrated in colour, unpaged).
Bern, Kunsthalle Bern, Matthew Barney: PACE CAR for the HUBRIS PILL, 1996 (another from the edition exhibited, illustrated, unpaged). This exhibition later travelled to Rotterdam, Museum van Boijmans Beuningen and Bordeaux, Musée d’Art Contemporain.
Munich, Sammlung Goetz, Matthew Barney-Tony Oursler-Jef Wall, 1996-1997, p. 94 (another from the edition exhibited, illustrated in colour, p. 18).
Hamburg, Deichtorhallen Hamburg, Emotion: Young British and American Art form the Goetz Collection, 1998-1999, p. 181 (another from the edition exhibited, illustrated in colour, p. 95).
Ishøj, Arken Museum of Modern Art, Veronica’s Revenge, 2000-2001 (another from the edition exhibited). This exhibition later travelled to Sydney, Museum of Contemporary Art.
Cologne, Museum Ludwig, Matthew Barney: The Cremaster Cycle, 2002-2003, p. 513 (another from the edition exhibited, illustrated in colour, pp. 331 and 472). This exhibition later travelled to Paris, Musée d’Art Moderne de la Ville de Paris and New York, Solomon R. Guggenheim Museum.
Bonn, Kunstmuseum Bonn, Through the Looking Brain: A Swiss collection of Conceptual Photography, 2011-2012 (illustrated in colour, p. 204). This exhibition later travelled to St. Gallen, Kunstmuseum St. Gallen.
Paris, Fondation Cartier pour l’Art Contemporain, Matthew Barney, 1995 (illustrated in colour, unpaged).
Bern, Kunsthalle Bern, Matthew Barney: PACE CAR for the HUBRIS PILL, 1996 (another from the edition exhibited, illustrated, unpaged). This exhibition later travelled to Rotterdam, Museum van Boijmans Beuningen and Bordeaux, Musée d’Art Contemporain.
Munich, Sammlung Goetz, Matthew Barney-Tony Oursler-Jef Wall, 1996-1997, p. 94 (another from the edition exhibited, illustrated in colour, p. 18).
Hamburg, Deichtorhallen Hamburg, Emotion: Young British and American Art form the Goetz Collection, 1998-1999, p. 181 (another from the edition exhibited, illustrated in colour, p. 95).
Ishøj, Arken Museum of Modern Art, Veronica’s Revenge, 2000-2001 (another from the edition exhibited). This exhibition later travelled to Sydney, Museum of Contemporary Art.
Cologne, Museum Ludwig, Matthew Barney: The Cremaster Cycle, 2002-2003, p. 513 (another from the edition exhibited, illustrated in colour, pp. 331 and 472). This exhibition later travelled to Paris, Musée d’Art Moderne de la Ville de Paris and New York, Solomon R. Guggenheim Museum.
Bonn, Kunstmuseum Bonn, Through the Looking Brain: A Swiss collection of Conceptual Photography, 2011-2012 (illustrated in colour, p. 204). This exhibition later travelled to St. Gallen, Kunstmuseum St. Gallen.
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