So does a trough for one of his favorite ingredients, chilled Vaseline. Props from Barney's cycle, which he sells as sculpture, all but spill down the ramp, without really bringing the video into the viewer's space as they might for Sue De Beer and her cross between video and installation. Old-master blockbusters were never like this. Down in the lobby, Cremaster 1 even gives one something to do while waiting (on line) for a ticket. The other four parts of his epic, half a dozen years in the making, lie throughout the rotunda and a side gallery. At over three hours, it will still, I promise, be playing by the time one reaches the top floor. Like a high-tech ceiling fixture, they update the geometry above while blasting the latest and best of his videos, Cremaster 3. Whereas Doug Aitken illuminates a museum eight times over, Barney's wide screens descend from the fabled museum skylight. Best pictureīarney makes the Guggenheim into a multiplex, in more ways than one. I should have known why one calls all those big shows blockbusters. He takes video art to the movies, the kind that plans for its own sequels. Unfortunately, with Matthew Barney, that puts me right back on line at the Guggenheim. In New York City Matthew Barney: The Cremaster Cycle
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