The Great American Interdisciplinary . . . (noun here)

Matthew Barney

Matthew Barney

I saw all of The Cremaster Cycle at the Guggenheim when the show was up . . . God, was it that long ago? My response was something like Bill Murray’s in Tootsie while he was watching the soap opera: “That is one nutty hospital.” My only reservation by the end of the five feature-length films was that I still didn’t know what the eye at the top of the pyramid on the back of a dollar bill is looking at, though I admired Barney’s attempt to cover just about everything else in human life. The rest of the exhibition taught me what the word vitrine means though I’ll probably never have a chance to use that word after this post. So far I’ve taken a pass on “River of Fundament,” a title that makes me smile, as I’m sure it’s meant to, though I really did admire Barney’s filthy Irish energy the first time around. Plus, like me, he grew up in Idaho, so I have to root for him. But being on Barney’s side is like putting money on the New England Patriots, isn’t it? (Go Bills!) This amused me:

“We hear about Matthew Barney’s six-hour film of Norman Mailer’s seven-hundred-page  Ancient Evenings, an unwatchable adapation of an unreadable book, and we think, Hey that might be great! It’s the American way.”

Adam Gopnik, “Go Giants”, The New Yorker, April 21, 20145

(I’m off to attend my son’s wedding in Mexico for the rest of the week, if we can trust United to get us there. We missed our originating flight this morning, which is why I was catching up on Gopnik.)

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