Fellow artist Sophie Arkette observed that "These works do not refer to something static, a composed form, but reveal the way one action precipitates another in the course of making a work What is crucial in the life of a work is the attempt at doing something regardless of outcome.
BARNEY MIN SCARY STORIES ARCHIVE
The resultant video recording, drawings and "set" (featuring various items of gym apparatus) exist as an archive of the performance. By applying the idea of hypertrophy to artistic growth - be that physical, cultural or spiritual - he explored the concept that the "strongest" artists (like the strongest athletes) should have to overcome self-imposed obstacles in order to create something "higher" something more "powerful". Through this experiment, Barney had effectively confronted the time-honoured maxim that the best art is a spontaneous, reflexive, activity. Drawing Restraint 2 was a gymnasium-based performance in which the artist made artistic "marks" on walls and ceiling while tethered to a ramp with bungee cords.
BARNEY MIN SCARY STORIES SERIES
The earliest in the series ( Drawing Restraint 1-6, produced between 1987-89) brought together drawing, photography and video performance in a way that reflected Barney's preoccupation with hypertrophy that being the idea that athletic physicality and strength is built up through muscle resistance. The Drawing Restraint series was a long-term project that Barney began in 1987 while still an undergraduate at Yale. Indeed, in Barney's vision, "bodily functions are interchangeable with the primordial ooze of the earth".
In his infamous River of Fundament, Barney pushed his viewers' mental (rather than muscular) endurance by asking them to confront human waste, not, as he says, as a shock tactic, but rather as a legitimate subject for philosophical meditation. In an extension of his interest in "situation", Barney has explored the extremes of rebirth and regeneration in a way that tested even the liberal tastes of the contemporary art world.Though gender determination is a dominant theme in contemporary art, Barney's work has allowed his viewer to search beyond the fixed parameters of liberal politics and to allow for a mediation on the relationship between sexual desire, self-discipline, and artistic productivity. Through his art, he has related this to his desire to obliterate the cultural tensions between the male and female sexes. Barney has spoken of the concept of "situation" - a raw, non-gendered, sexual energy "without discipline or direction".Applying the principle that to achieve its maximum capacity the muscle must first be stretched to near breaking point, Barney tied himself down to a fixed point in a hybridized space (such as a gymnasium) before climbing and reaching over or around physical obstructions and props to draw and write on surfaces such as walls and ceilings. Adopting the metaphor "athlete as artist", his series brought a unique biological perspective to the crowded ideological sphere of gender and body politics in contemporary art. Barney's Drawing Restraints series drew on his early years as an athlete.Variety backed up the Cycle's postmodern credentials when it summed up Cremaster 3 as " Hieronymus Bosch by way of Busby Berkeley". Eliot's poem The Wasteland with the Star Wars cycle. Combining sculpture, drawing and installation the films create an expansive self-contained world that art critic Johnathan Jones suggests blend elements of T.S. Presented on a sweeping, operatic-like scale, and produced over a period of some eight years, many cite the Cremaster Cycle as one of the greatest achievements in American art. By unanimous consensus, Barney's most important work is his five-film, seven-hour, Cremaster Cycle.Barney is a strong advocate of collaboration (which he attributes to his early success in team sports), but the fact that he avoids self-publicity and unnecessary media attention (unlike Damien Hirst to whom he is sometimes compared) has added to his substantial cult following. Barney's work, which provokes psychological fantasies that many (indeed, most) find deeply challenging, is dense with references to training camps and medical apparatus, allusions to anatomical movement, the history of art, and the iconography, history, and mythology of ancient cultures. His works, which blend Video Art, Performance Art, and sculptural installations, are concerned with physical movement (sport and choreographed dance) and they carry deep thematic undercurrents of sexual and bodily excess. One of the most important figures in the contemporary art world, and known primarily for large-scale film projects, including his career-defining Cremaster Cycle, Barney has proved one of the most daring and ambitious (and divisive) American artists to gain fame from the late-twentieth century onward.
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