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Matthew Barney - Buchbeschreibung, Ausstattung und ISBN
Matthew Barney von Matthew Barney, Neville Wakefield, Francis Mckee, Itsuko Hasegawa ist ein Titel aus dem Bereich Sachbuch, der thematisch klar positioniert ist und für Leserinnen und Leser mit Interesse an diesem Fach- oder Themengebiet besonders relevant sein kann. Die Kurzbeschreibung von Matthew Barney zeigt, welche Inhalte Leserinnen und Leser erwarten dürfen: CREMASTER 1 (1995) is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho - Barney's hometown. CREMASTER 2 (1999) is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. CREMASTER 4 (1994) adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore as well as its more recent incarnation as host to the Tourist Trophy motorcycle race. When total descension is finally attained in CREMASTER 5 (1997), it is envisioned as a tragic love story set in the romantic dreamscape of late-nineteenth-Century Budapest. The film is cast in the shape of a lyric opera. Biological metaphors shifted form to inhabit emotional states - longing and despair - that become musical leitmotivs in the orchestral score. The opera's primary characters - the Queen of Chain (played by Ursula Andress) and her Diva, Magician, and Giant (all played by Barney) - enact collectively the final release promised by the project as a whole Als Veröffentlichungsdatum ist 2007 hinterlegt; verlegt wurde der Titel von Kunstverlag Ingvild Goetz in München.
Was diese Ausgabe besonders interessant macht
Matthew Barney ist besonders für Leserinnen und Leser interessant, die sich gezielt mit Veröffentlichungen von Matthew Barney, Neville Wakefield, Francis Mckee, Itsuko Hasegawa beschäftigen möchten. Mit dem Erscheinungszeitpunkt 2007 lässt sich Matthew Barney sauber in einen bibliografischen Kontext einordnen. Durch die Zuordnung zur Kategorie Sachbuch wird Matthew Barney auch für thematische Recherchen besonders relevant. Verlagsname und Verlagsort - Kunstverlag Ingvild Goetz und München - helfen dabei, die Ausgabe eindeutig zu identifizieren. Mit der Sprache Deutsch lässt sich Matthew Barney auch im internationalen oder mehrsprachigen Kontext präzise filtern.
Inhalte, Themen und Relevanz
Matthew Barney lässt sich inhaltlich innerhalb von Sachbuch verorten und wird in der Beschreibung wie folgt umrissen: CREMASTER 1 (1995) is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho - Barney's hometown. CREMASTER 2 (1999) is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. CREMASTER 4 (1994) adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore as well as its more recent incarnation as host to the Tourist Trophy motorcycle race. When total descension is finally attained in CREMASTER 5 (1997), it is envisioned as a tragic love story set in the romantic dreamscape of late-nineteenth-Century Budapest. The film is cast in the shape of a lyric opera. Biological metaphors shifted form to inhabit emotional states - longing and despair - that become musical leitmotivs in the orchestral score. The opera's primary characters - the Queen of Chain (played by Ursula Andress) and her Diva, Magician, and Giant (all played by Barney) - enact collectively the final release promised by the project as a whole Ergänzend helfen die hinterlegten Schlagwörter dabei, Matthew Barney thematisch schneller einzuordnen: Exhibitions, Interviews, Conceptual art, Video art, Art & Art Instruction, Art, Individual Artist, Individual artists, Installations (Art), European Art, History of art & design styles: from c 1900 -, Art / Individual Artist, Painting, exhibitions, American Drawing, Art, modern, 20th century, exhibitions, Sculpture, Conceptual, Performance art, Drawing & drawings, Techniques - Drawing, Art, modern, 21st century, exhibitions, Exhibition catalogues and specific collections, Drawing, exhibitions, Comparative Art
Ausgabe, Identifikatoren und Referenzen
Die Open-Library-Zuordnung über OL2301179W und OL17015993M, OL23242459M, OL44917078M verbessert die externe Nachvollziehbarkeit des Werkes. Für die eindeutige Identifikation der Ausgabe sind sowohl die ISBN-10 3939894095 als auch die ISBN-13 9783939894094 hinterlegt. Verlag, Ort und Datum - Kunstverlag Ingvild Goetz, München und 2007 - bilden zusammen einen wichtigen bibliografischen Kern dieses Datensatzes.
Inhaltliche Kurzcharakteristik: CREMASTER 1 (1995) is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho - Barney's hometown. CREMASTER 2 (1999) is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. CREMASTER 4 (1994) adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore as well as its more recent incarnation as host to the Tourist Trophy motorcycle race. When total descension is finally attained in CREMASTER 5 (1997), it is envisioned as a tragic love story set in the romantic dreamscape of late-nineteenth-Century Budapest. The film is cast in the shape of a lyric opera. Biological metaphors shifted form to inhabit emotional states - longing and despair - that become musical leitmotivs in the orchestral score. The opera's primary characters - the Queen of Chain (played by Ursula Andress) and her Diva, Magician, and Giant (all played by Barney) - enact collectively the final release promised by the project as a whole
Thematische Tags: Exhibitions, Interviews, Conceptual art, Video art, Art & Art Instruction, Art, Individual Artist, Individual artists, Installations (Art), European Art, History of art & design styles: from c 1900 -, Art / Individual Artist, Painting, exhibitions, American Drawing, Art, modern, 20th century, exhibitions, Sculpture, Conceptual, Performance art, Drawing & drawings, Techniques - Drawing, Art, modern, 21st century, exhibitions, Exhibition catalogues and specific collections, Drawing, exhibitions, Comparative Art
Durch die Kombination aus Titel, Autorenschaft, Kategorie und Schlagwörtern - also Matthew Barney, Matthew Barney, Neville Wakefield, Francis Mckee, Itsuko Hasegawa, Sachbuch und Exhibitions, Interviews, Conceptual art, Video art, Art & Art Instruction, Art, Individual Artist, Individual artists, Installations (Art), European Art, History of art & design styles: from c 1900 -, Art / Individual Artist, Painting, exhibitions, American Drawing, Art, modern, 20th century, exhibitions, Sculpture, Conceptual, Performance art, Drawing & drawings, Techniques - Drawing, Art, modern, 21st century, exhibitions, Exhibition catalogues and specific collections, Drawing, exhibitions, Comparative Art - ist der Datensatz sowohl für Suchmaschinen als auch für Nutzerinnen und Nutzer sehr gut interpretierbar. Zusätzliche Präzision entsteht durch Identifikatoren wie 3939894095, 9783939894094 und OL2301179W, die die Ausgabe in verschiedenen Katalog- und Suchkontexten eindeutig referenzierbar machen.
Fragen und Antworten rund um diese Ausgabe
Gibt es externe Referenzdaten für das Werk?
Ja, das Werk ist über die Open-Library-Work-ID OL2301179W sowie die Editions-IDs OL17015993M, OL23242459M, OL44917078M referenzierbar.
Die Ausgabe erschien am 2007 bei Kunstverlag Ingvild Goetz und ist dem Veröffentlichungsort München zugeordnet.
Welche Inhalte beschreibt die Kurzbeschreibung?
Die vorhandene Beschreibung lautet: CREMASTER 1 (1995) is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho - Barney's hometown. CREMASTER 2 (1999) is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. CREMASTER 4 (1994) adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore as well as its more recent incarnation as host to the Tourist Trophy motorcycle race. When total descension is finally attained in CREMASTER 5 (1997), it is envisioned as a tragic love story set in the romantic dreamscape of late-nineteenth-Century Budapest. The film is cast in the shape of a lyric opera. Biological metaphors shifted form to inhabit emotional states - longing and despair - that become musical leitmotivs in the orchestral score. The opera's primary characters - the Queen of Chain (played by Ursula Andress) and her Diva, Magician, and Giant (all played by Barney) - enact collectively the final release promised by the project as a whole
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