Matthew Barney’s multichannel Secondary will be shown on a single screen at Metrograph (image © Matthew Barney, courtesy of the artist, Gladstone Gallery, Sadie Coles HQ, Regen Projects, and Galerie Max Hetzler)

SECONDARY
Metrograph
7 Ludlow St. between Canal & Hester Sts.
Saturday, May 3, 5:00
metrograph.com
secondary.matthewbarney.net
online slideshow

It was the hit heard round the world.

On August 12, 1978, the New England Patriots were playing a preseason game against the Oakland Raiders at Oakland-Alameda County Coliseum. Late in the second quarter, the Pats have a third and eight at the Raiders twenty-four-yard line. QB Steve Grogan calls the 94 Slant, and wide receiver Darryl Stingley heads downfield. At the ten-yard line, Stingley reaches for the overthrown pass and is crushed in midair by two-time Raiders All-Pro safety Jack Tatum, known as the Assassin for his punishing style of play. Stingley immediately crumples to the ground. Four Oakland defenders look down at Stingley and walk away; Patriots wide receiver Russ Francis stands over his fallen teammate, knowing something is wrong. The twenty-six-year-old Stingley is wheeled off the field on a stretcher, a quadriplegic for the rest of his life; he died in 2007 at the age of fifty-five. Tatum wasn’t penalized on the play and never apologized to Stingley, claiming it was a legal hit and that he had done nothing wrong. Tatum, who died in 2010 at the age of sixty-one, was also involved in the Immaculate Reception on December 23, 1972, in a playoff game against the Steelers; with twenty-two seconds left and Pittsburgh down by one, future Hall of Famer Terry Bradshaw was facing a fourth and ten from his own forty. He ran to his right and threw a pass down the middle. Tatum smashed into Steelers running back Frenchy Fuqua, the ball popped up into the air, and future Hall of Famer Franco Harris picked it up by his shoestrings and ran forty yards into the end zone for the winning score.

Filmmaker and installation artist Matthew Barney was eleven years old when Tatum pummeled Stingley. Seeing the collision over and over again on replay did not prevent Barney from becoming a star quarterback in high school in Idaho. But at Yale, he switched from sports to art, beginning his “Drawing Restraint” series in 1987 and making his Jim Otto Suite in 1991–92, about orifices, bodily fluids, energy, Harry Houdini, and Raiders Hall of Fame center Jim Otto, who wore the number double zero, mimicking the letters at the beginning and end of his palindromic last name.

Violence in football takes center stage as a metaphor for America in Matthew Barney’s Secondary (image courtesy Matthew Barney Studio, © Matthew Barney / photo by Julieta Cervantes)

In 2023, Barney said farewell to his longtime Long Island City studio with Secondary, a five-channel video installation that used the Tatum-Stingley play to explore violence in athletic competition. Barney transformed the studio, which was right on the East River, into a football stadium, with a long, artificial turf surface divided into geometric patterns of different colors, centered by his “Field Emblem,” his Cremaster logo, an ellipse with a line going through it, evoking –0-. There were monitors in all four corners of the field, along with a three-sided mini-jumbotron hanging from the ceiling. Visitors could sit on the field or a bench; there was also a painting on the wall, an owners booth filled with football paraphernalia, and a ditch with broken piping and mud dug into the concrete. Outside, on the facade facing the water, there was a digital countdown clock next to graffiti that said, “Saboroso,” which means “delicious.”

Written and directed by Barney, photographed by Soren Nielsen, and edited by Kate Williams, the film — which lasts sixty minutes, the length of a football game — has now been reimagined on a single screen, where it will be shown at Metrograph on May 3 at 5:00, in conjunction with the publication of a two-volume companion book (Rizzoli, April 2025, $115), featuring contributions from Eric Banks, Jonathan Bepler, Raven Chacon, Mark Godfrey, Juliette Lecorne, Helen Marten, Maggie Nelson, and David Thomson; Barney will be at Metrograph for a postscreening discussion with book editor Louise Neri and Banks, followed by a reception with signed books available for purchase.

The multichannel version kicks off with indigenous rights activist Jacquelyn Deshchidn, a Two-Spirit Chiricahua Apache and Isleta Pueblo soprano, composer, poet, and public speaker, performing an alternate national anthem, a none-too-subtle jab at a league that still has teams using offensive Native American names and imagery. The cast, primarily consisting of dancers and choreographers, features movement director David Thomson as Stingley; Raphael Xavier as Tatum; Shamar Watt as Raiders safety Lester “the Molester” Hayes; Wally Cardona as Grogan; Ted Johnson as Francis; Isabel Crespo Pardo, Kyoko Kitamura, and Jeffrey Gavett as the line judges and referees; Barney as Raiders Hall of Fame QB Ken “the Snake” Stabler, who died of colon cancer but was discovered to have had high Stage 3 chronic traumatic encephalopathy (CTE), the disease that affects so many football players, brought on by getting hit so much in the head; and Thomas Kopache as Raiders owner Al Davis, whose motto was “Just win, baby,” no matter the cost. (Football fans will also notice cameos by actors portraying such Raiders favorites as wide receiver Fred Biletnikoff and defensive end John “the Tooz” Matuszak, who became an actor and died in 1989 at the age of thirty-eight from an opioid overdose.) The actors are generally much older than the people they represent, several of whom never made it to the age the performers are today.

The experimental film does not have a traditional chronological narrative; instead, Barney focuses on Tatum, Hayes, and Stingley training in slow motion in equipment rooms as if preparing for a ballet, Grogan making a football out of a gooey substance and then practicing with it, members of Raiders Nation shouting and cheering in fierce black-and-silver Halloween-like costumes, and players venturing into the muddy ditch, the broken pipe echoing Stingley’s shattered body. The music, by sound designer Jonathan Bepler, envelops the audience in a parade of noises, from hums and breathing to clangs and screams. Shots of the Manhattan skyline and the East River beckon to another life outside. The screens sometimes display the same footage, while other times they are different; it is like the viewer is at a football game, with the choice whether to watch the quarterback, the defensive alignment, or other fans in the stands. There is no actual pigskin in the film.

Matthew Barney turned his LIC studio into a multimedia installation (photo by twi-ny/mdr)

The game of football has always been lionized for its violence. Even as the league changes rules to try to protect the quarterback, kick returners, and receivers, the sports networks repeatedly show brutal hits like the one on Dolphins quarterback Tua Tagovailoa against the Cincinnati Bengals that resulted in severe head and neck injuries. When we think of Washington Redskins quarterback Joe Theismann, the first thing we remember is the career-ending injury he suffered on Monday Night Football in 1985 at the hands of New York Giants linebackers Lawrence Taylor and Harry Carson, brutally shattering his leg, and not his 1982–83 MVP season when he led his team to a Super Bowl victory over the Dolphins.

But Barney (River of Fundament, “Subliming Vessel”) is not merely commenting on football. Secondary is about America itself, its rituals and celebrations, its embracing of violence on and off the field. It’s about our lack of respect for the human body and one another, about a country torn apart into blue and red states like opposing teams, ready to do whatever is necessary to just win, baby.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]