2003.24.2, Matthew Barney, CREMASTER 3: Hiram Abiff, 2002, c print


GENERAL DESCRIPTION  
American sculptor Richard Serra appears here as the older master architect of the Chrysler building whom the apprentice architect, played by Barney himself in his film Cremaster 3, must conquer in order to achieve his own identity. Serra stands in front of a tool-like set of columns, a reference to two pillars designed by Hiram Abiff, the mythic architect of Solomon's Temple, who possessed knowledge of the mysteries of the universe. The murder and resurrection of Abiff are reenacted during Masonic initiation rites. Of his work with Barney, Serra said, “What’s interesting is how he’s been able to involve people in his work, his ability to have people who are non-performers enter into his intensity and become an extension of his imagination.”

Adapted from
Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 52.

NOTES

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 
Until 2003: Gladstone Gallery, New York, New York [1]

From 2003: Dallas Museum of Art, purchased from above 

[1] See copy of check #10574 in Collections Records Object File 2003.24.2

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VIDEO ASSETS

IMAGE ASSETS

WEB RESOURCES 

ARCHIVAL RESOURCES

FUN FACTS

TEACHING IDEAS

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Apply to objects where number equals 2003.24.2

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General Description
 
American sculptor Richard Serra appears here as the older master architect of the Chrysler building whom the apprentice architect, played by Barney himself in his film Cremaster 3, must conquer in order to achieve his own identity. Serra stands in front of a tool-like set of columns, a reference to two pillars designed by Hiram Abiff, the mythic architect of Solomon's Temple, who possessed knowledge of the mysteries of the universe. The murder and resurrection of Abiff are reenacted during Masonic initiation rites. Of his work with Barney, Serra said, “What’s interesting is how he’s been able to involve people in his work, his ability to have people who are non-performers enter into his intensity and become an extension of his imagination.”

Adapted from
Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 52.

Fun Facts

Archival Resources

Web Resources
 

Notes

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 
Until 2003: Gladstone Gallery, New York, New York [1]

From 2003: Dallas Museum of Art, purchased from above 

[1] See copy of check #10574 in Collections Records Object File 2003.24.2

AUDIO ASSETS 

VIDEO ASSETS

rules
Apply To
Objects
number
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2003.24.2
tags
#draft
#completed
%copyedited_Gail
@Bowling
%Archived
men: AAT: 300025928
*Contemporary Art
narrative (artistic device): AAT: 300055903
hats (headgear): AAT: 300046106
Serra_Richard: ULAN: 500029327
black (color): AAT: 300130920
reflectivity (optical property): AAT: 300056322
portrait: AAT: 300015637
interior spaces: AAT: 300078790
gray (color): AAT: 300130811
machinery: AAT: 300024839
suits (main garments): AAT: 300209863
gloves (handwear): AAT: 300148821
filmmaking: AAT: 300263841
tools: AAT: 300024841
Barney_Matthew: ULAN: 500114761
source file
object_notes_1_b-0156.xml.nores