Matthew Barney and the Paradox of the Neo-Avant-Garde Blockbuster

Abstract

Analyzing the connections between Matthew Barney's Cremaster series and a double genealogy—performance art of the 1960s and 1970s and blockbuster film and museum culture—this essay argues that the series' investment in the blockbuster serves to spectacularize performance in ways that undermine its historical relations to protest culture.

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