characterization, resulting in a three channel video and a series of drawings and photographs, for which Barney was awarded the Aperto Prize in the 1993 Venice Biennale. A series of ten vitrines containing drawings, Drawing Restraint 8 was included in the 2003 Venice Biennale and prefigured the narrative development for Drawing Restraint 9 (2005). A major project consisting of a feature-length film and soundtrack composed by Björk, large-scale sculptures, photographs and drawings, Drawing Restraint 9 was built upon themes such as the Shinto religion, the tea ceremony, the history of whaling, and the supplantation of blubber with refined petroleum for oil. A full-scale survey of Barney's work through Drawing Restraint 9 was held at the San Francisco Museum of Modern Art in 2006 and included over 150 objects of varying media. Drawing Restraint 10 – 16 (2005–07) are site-specific performances that recall the earlier Yale pieces. Drawing Restraint 17 and 18 were performed at the Schaulager in Basel in 2010 in conjunction with the exhibition "Prayer Sheet with the Wound and the Nail," a survey of the Drawing Restraint series through Drawing Restraint 18. Drawing Restraint 19 employs a skateboard as a drawing tool. A block of graphite is mounted beneath the skateboard deck on the front end of the board. A skater performs a nose manual (a wheelie on the nose of the board, leaning in the direction of movement) across a smooth surface, tipping the nose of the board forward and leaving behind a drawn graphite line. The piece was part of a benefit art show and auction titled "Good Wood", raising awareness and funds for Power House Productions' Ride It Sculpture Park in Detroit, Michigan. The riding was performed on site by skateboarder Lance Mountain, documented by photographer Joe Brook and published by Juxtapoz Magazine in their February 2013 issue. The board was purchased by People Skate and Snowboard and it is displayed at their only location in Keego Harbor, Michigan. The Cremaster Cycle (1994–2002) Matthew Barney's epic Cremaster cycle (1994–2002) is a self-enclosed aesthetic system consisting of five feature-length films that explore processes of creation. The cycle unfolds not just cinematically, but also through the photographs, drawings, sculptures, and installations the artist produces in conjunction with each episode. Its conceptual departure point is the male cremaster muscle, which controls testicular contractions in response to external stimuli. Barney's long-time collaborator Jonathan Bepler composed and arranged the films’