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Author:
Publisher: Mamco Geneva
ISBN: 9781942884477
Category : Art
Languages : en
Pages : 146
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Book Description
A new publication spotlights Gordon Matta-Clark's only extant architectural piece In 1972, Gordon Matta-Clark (1943-78) installed a dumpster on the street between 98 and 112 Greene Street in New York's SoHo neighborhood, an architectural artwork he called Open House. Matta-Clark used discarded, scavenged materials--old pieces of wood, doors--to subdivide the space inside the dumpster, creating corridors and small rooms within the container. Dancers and artists moved around the space, their pedestrian movements activating the sculpture and captured in a Super-8 film of the piece. Matta-Clark is best known for his building cuts and architectural interventions. Because of the nature of this work and its context--sited in spaces abandoned or slated for demolition--Matta-Clark's "anarchitecture" was almost necessarily ephemeral, surviving as only documentation and sculptural sections. Open House (1972) is the only still-extant architectural piece by Matta-Clark. Gordon Matta-Clark: Open House is the first publication to focus on this crucial piece by the artist, using it as a way into his complex body of work. Featuring contributions from Sophie Costes, Thierry Davila and Lydia Yee, this volume takes a historical and theoretical approach to Open House and Matta-Clark's entire oeuvre.
Author:
Publisher: Mamco Geneva
ISBN: 9781942884477
Category : Art
Languages : en
Pages : 146
Get Book Here
Book Description
A new publication spotlights Gordon Matta-Clark's only extant architectural piece In 1972, Gordon Matta-Clark (1943-78) installed a dumpster on the street between 98 and 112 Greene Street in New York's SoHo neighborhood, an architectural artwork he called Open House. Matta-Clark used discarded, scavenged materials--old pieces of wood, doors--to subdivide the space inside the dumpster, creating corridors and small rooms within the container. Dancers and artists moved around the space, their pedestrian movements activating the sculpture and captured in a Super-8 film of the piece. Matta-Clark is best known for his building cuts and architectural interventions. Because of the nature of this work and its context--sited in spaces abandoned or slated for demolition--Matta-Clark's "anarchitecture" was almost necessarily ephemeral, surviving as only documentation and sculptural sections. Open House (1972) is the only still-extant architectural piece by Matta-Clark. Gordon Matta-Clark: Open House is the first publication to focus on this crucial piece by the artist, using it as a way into his complex body of work. Featuring contributions from Sophie Costes, Thierry Davila and Lydia Yee, this volume takes a historical and theoretical approach to Open House and Matta-Clark's entire oeuvre.
Author: Frances Richard
Publisher: University of California Press
ISBN: 0520299094
Category : Art
Languages : en
Pages : 534
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Book Description
Bringing a poet’s perspective to an artist’s archive, this highly original book examines wordplay in the art and thought of American artist Gordon Matta-Clark (1943–1978). A pivotal figure in the postminimalist generation who was also the son of a prominent Surrealist, Matta-Clark was a leader in the downtown artists' community in New York in the 1970s, and is widely seen as a pioneer of what has come to be known as social practice art. He is celebrated for his “anarchitectural” environments and performances, and the films, photographs, drawings, and sculptural fragments with which his site-specific work was documented. In studies of his career, the artist’s provocative and vivid language is referenced constantly. Yet the verbal aspect of his practice has not previously been examined in its own right. Blending close readings of Matta-Clark’s visual and verbal creations with reception history and critical biography, this extensively researched study engages with the linguistic and semiotic forms in Matta-Clark’s art, forms that activate what he called the “poetics of psycho-locus” and “total (semiotic) system.” Examining notes, statements, titles, letters, and interviews in light of what they reveal about his work at large, Frances Richard unearths archival, biographical, and historical information, linking Matta-Clark to Conceptualist peers and Surrealist and Dada forebears. Gordon Matta-Clark: Physical Poetics explores the paradoxical durability of Matta-Clark’s language, and its role in an aggressively physical oeuvre whose major works have been destroyed.
Author: Stephen Walker
Publisher: Bloomsbury Publishing
ISBN: 0857712993
Category : Architecture
Languages : en
Pages : 221
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Book Description
Known for - and even overshadowed by - his brutal and spectacular building cuts, Gordon Matta-Clark's oeuvre is unique in the history of American art. He worked in the 1970s on the boarders between art and architecture and his diverse practice is often understood as an outright rejection of the tenets of high modernism. Stephen Walker argues instead for the artist's ambivalent relationship with the architectural heritage he is often claimed to disavow, thus making this the first book to extrapolate Matta-Clark's thinking beyond its immediate context.Walker considers the broad range of Matta-Clark's ephemeral practice, from montage to actual interventions and from performance art and installation to drawing, film and video. Bringing to the fore the consistent themes and issues explored through this broad range of media, and in particular the complex notion of the 'discreet violation', he reveals the continued relevance of Matta-Clark's artistic and theoretical oeuvre to the reception of artistic and architectural work today.
Author:
Publisher: David Zwirner Books
ISBN: 9781934435410
Category : Art
Languages : en
Pages : 197
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Book Description
112 Greene Street was more than a physical space—it was a locus of energy and ideas that with a combination of genius and chance had a profound impact on the trajectory of contemporary art...its permeable walls became the center of an artistic community that challenged the traditional role of the artist, the gallery, the performer, the audience, and the work of art. — Jessamyn Fiore 112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark, and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and freedom that was at its peak between 1970 and 1974. 112 Greene Street: The Early Years (1970–1974) is the culmination of an exhibition by the same name that was on view at David Zwirner in New York in 2011. This extensively researched and historically important book brings together a number of works that were exhibited at the seminal space (including works by Gordon Matta-Clark, Vito Acconci, Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret, and Richard Serra); extensive interviews with many of the artists involved in the space; a fascinating timeline of all the activity at 112 Greene Street in the early years; and installation views of the 2011 exhibition. The interviews in the book have been prepared by the exhibition’s curator, Jessamyn Fiore, and Louise Sørensen, Head of Research at David Zwirner, has contributed an introductory text that illuminates the space’s significance and critical reception during the prime years of its operation, as well as commentary on individual works in the show.
Author: Antonio Sergio Bessa
Publisher: Yale University Press
ISBN: 0300230435
Category : Art
Languages : en
Pages : 185
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Book Description
This revealing book looks at the groundbreaking work of Gordon Matta-Clark (1943-1978), whose socially conscious practice blurred the boundaries between contemporary art and architecture. After completing a degree in architecture at Cornell University, Matta-Clark returned to his home city of New York, where he initiated a series of site-specific works in derelict areas of the South Bronx. The borough's many abandoned buildings, the result of economic decline and middle-class flight, served as Matta-Clark's raw material. His series 'Bronx Floors' dissected these structures, performing an anatomical study of ther ravaged urban landscape. Moving from New York to Paris with 'Conical Interserct', a piece that became emblematic of artistic protest, Matta-Clark applied this same method to a pair of seventeenth-century row houses slatted for demolition as a result of the Centre Pompidou's construction. This compelling volume grounds Matta-Clark's practice against the framework of architectural and urban history, stressing his pioneering activist-inspired approach, as well as his contribution to the nascent fields of social practice and relational aesthetics.
Author: Pamela M. Lee
Publisher: MIT Press
ISBN: 9780262621564
Category : Architecture
Languages : en
Pages : 308
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Book Description
In this first critical account of Matta-Clark's work, Pamela M. Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs. Although highly regarded during his short life—and honored by artists and architects today—the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as "building cuts." Sculptural transformations of architecture produced through direct cuts into buildings scheduled for demolition, these works now exist only as sculptural fragments, photographs, and film and video documentations. Matta-Clark is also remembered as a catalytic force in the creation of SoHo in the early 1970s. Through loft activities, site projects at the exhibition space 112 Greene Street, and his work at the restaurant Food, he participated in the production of a new social and artistic space. Have art historians written so little about Matta-Clark's work because of its ephemerality, or, as Pamela M. Lee argues, because of its historiographic, political, and social dimensions? What did the activity of carving up a building-in anticipation of its destruction—suggest about the conditions of art making, architecture, and urbanism in the 1970s? What was one to make of the paradox attendant on its making—that the production of the object was contingent upon its ruination? How do these projects address the very writing of history, a history that imagines itself building toward an ideal work in the service of progress? In this first critical account of Matta-Clark's work, Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs.
Author: Francesca Herndon-Consagra
Publisher:
ISBN: 9780982334706
Category :
Languages : en
Pages : 29
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Book Description
Author: Bruce Jenkins
Publisher:
ISBN: 9781846380723
Category : Conceptual art
Languages : en
Pages : 0
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Book Description
A landmark work byGordon Matta-Clark, examined as an ldquo;act of communicationrdquo; aboutsustainability and the public role of art.
Author: Adi Shamir Zion
Publisher: Rizzoli International Publications
ISBN:
Category : Architecture
Languages : en
Pages : 234
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Book Description
Modern architects broke free from spatial constraints and traditional limits to design houses that were unbound, dynamic, and open.".
Author: Lara Mimosa Montes
Publisher: Coffee House Press
ISBN: 1566895871
Category : Poetry
Languages : en
Pages : 89
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Book Description
Thresholes is both a doorway and an absence, a roadmap and a remembering. In this almanac of place and memory, Lara Mimosa Montes writes of her family’s past, returning to the Bronx of the 70s and 80s and the artistry that flourished there. What is the threshold between now and then, and how can the poet be the bridge between the two?
