Edited by Pedro Donoso. Text by Caroline Goodden, Gerry Hovagimyan, Flor Bex, Carlos Navarrete, Gwendolyn Owens. Interviews by Carmen Beuchat, Jane Crawford, Jaime Davidovich, Jene Highstein, Les Levine, Malitte Matta, Ramuntcho Matta, Richard Nonas, Alan Saret, Ned Smyth. Afterword by Harold Berg.
Hbk, 6.75 x 9.5 in. / 224 pgs / 24 color / 63 duotone. | 8/23/2016 | Awaiting stock ISBN 9788434313552 | $45.00
Published by David Zwirner Books. Text by Briony Fer. Interview by Jessamyn Fiore, Sarah Sze.
Well known for his radical "anarchitectural" interventions throughout the 1970s, Gordon Matta-Clark (1943–78) was always deeply, though less publicly, committed to drawing. His works on paper—which span three-dimensional reliefs, calligraphy and notebook entries—capture the interdisciplinary spirit that defined the art world in the 1970s, testifying to his interest in the crossovers between visual and performance arts. Gordon Matta-Clark: The Beginning of Trees and the End, published on the occasion of the eponymous 2015 show at David Zwirner, New York, documents his extraordinary accomplishment as a draftsman. Organized by theme, the catalogue presents selections from Matta-Clark’s Cut Drawings, Energy Rooms, Energy Trees and his own "calligraphy," many of which have never been published. Perhaps the best known of the group, the Cut Drawings explore smaller-format versions of his architectural interventions; slicing meticulously through several layers of paper, gesso or cardboard, Matta-Clark created flat sculptural works that emphasized the voids created by extracting matter. Drawings with Matta-Clark’s own "calligraphy" emphasize the medium of drawing as an independent form. Some of the most elaborate and colorful compositions include trees, several of which refer to Matta-Clark’s Tree Dance performance at Vassar College in 1971. Near-abstract tree shapes also incorporate his calligraphic marks, with branches constructed from imaginary letters. Matta-Clark’s Notebooks, which combine elements of Surrealist automatic drawing with an interest in choreography, appealed to performance artists, including Laurie Anderson and Trisha Brown. This unparalleled presentation of Matta-Clark’s drawings is accompanied by new scholarship by Briony Fer, as well as an interview with artist Sarah Sze by Jessamyn Fiore, co-director of the Estate of Gordon Matta-Clark.
Born in New York in 1943, Gordon Matta-Clark is widely considered one of the most influential artists working in the 1970s. He was a key contributor to the activity and growth of the New York art world in SoHo from the late 1960s until his untimely death in 1978. In 2007, Gordon Matta-Clark: You Are the Measure was the first full-scale retrospective organized by the Whitney Museum of American Art, New York, which subsequently traveled to the Museum of Contemporary Art, Los Angeles and the Museum of Contemporary Art Chicago. Matta-Clark’s work is included in prominent public collections, including The Metropolitan Museum of Art, New York; Museum of Contemporary Art Chicago; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Smithsonian American Art Museum, Washington, D. C.; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; and the Whitney Museum of American Art, New York.
Artist Sarah Sze lives and works in New York. She holds a BA from Yale University, 1991 and an MFA from the School of Visual Arts, New York, 1997. In 2013, Sze represented the United States at the 55th Venice Biennale. She has had major solo exhibitions at the Fabric Workshop and Museum, Philadelphia; MUDAM, Luxembourg; Asia Society, New York; Malmo Konsthall, Sweden; Whitney Museum of American Art, New York; Museum of Contemporary Art Chicago; and the Institute of Contemporary Arts, London. Sze is a 2003 John and Catherine T. MacArthur Fellow.?
Briony Fer is an art historian who has written extensively on modern and contemporary art. Her research interests have consistently moved between the history of the avant-gardes and the work of contemporary artists, including Gabriel Orozco, Roni Horn, David Batchelor and Tacita Dean. Her books include On Abstract Art (1997), The Infinite Line (2004), and Eva Hesse: Studiowork (2009). She has also organized exhibitions of Eva Hesse’s studiowork as well as, most recently, an exhibition of the work of Gabriel Orozco, accompanied by the monograph Gabriel Orozco: thinking in circles (2013). In spring 2014, she was Kirk Varnedoe Professor at the Institute of Fine Arts in New York. She is Professor of History of Art at University College London and a Fellow of the British Academy.?
Jessamyn Fiore is a New York–based curator and writer as well as the co-director of the Estate of Gordon Matta-Clark. She is the curator of the Jean-Paul Najar Foundation opening in Dubai in November 2015. She received an MA in contemporary art theory, practice and philosophy from The National College of Art and Design, Dublin in 2009. Exhibitions curated include 112 Greene Street: The Early Years (1970–1974), David Zwirner, New York (2011), which led to her editing the exhibition catalogue, Gordon Matta-Clark: Above and Below, David Zwirner, New York (2013); and II Machines: Clive Murphy & Trevor Tweeton, Knockdown Center, Queens (2015). Her original one-act play, Blast from The Past, based on the writings of Robert Smithson and Matta-Clark, was published in 2014.
Published by Ediciones Poligrafa. Edited by Pedro Donoso. Text by Caroline Goodden, Gerry Hovagimyan, Flor Bex, Carlos Navarrete, Gwendolyn Owens. Interviews by Carmen Beuchat, Jane Crawford, Jaime Davidovich, Jene Highstein, Les Levine, Malitte Matta, Ramuntcho Matta, Richard Nonas, Alan Saret, Ned Smyth. Afterword by Harold Berg.
Gordon Matta-Clark (1943–78) died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York City alleys and curbs. The artist used a variety of media to document his work, including film, video and photography. His work and words, while sophisticated enough to make him an "artist’s artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. In the early 1970s, Matta-Clark developed the idea of "anarchitecture," which encompassed his interest in voids, gaps and left-over spaces. Gordon Matta-Clark: Experience Becomes the Object collects five essays and ten individual interviews with various friends and family members of Matta-Clark’s. Together, they outline a biographical profile and offer an analysis of the historical period in which the artist developed his short but successful career. New, never-before-published material and photographs as well as an exclusive link to the documentary Crosswords: Matta-Clark’s Friends by Matias Cardone are also included.
MoMA PS1 presents the fourth iteration of Greater New York. Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area. Considering the "greater" aspect of its title in terms of both geography and time, Greater New York. begins roughly with the moment when MoMA PS1 was founded in 1976 as an alternative venue that took advantage of disused real estate, reaching back to artists who engaged the margins of the city. In conjunction with the exhibition, MoMA PS1 is publishing a series of readers that will be released throughout the run of the exhibition. These short volumes revisit older histories of New York while also inviting speculation about its future, highlighting certain works in the exhibition and engaging a range of subjects including disco, performance anxiety, real estate and newly unearthed historical documents. The series features contributions from Fia Backström, Mark Beasley, Gregg Bordowitz, Susan Cianciolo, Douglas Crimp, Catherine Damman, David Grubbs, Angie Keefer, Aidan Koch, Glenn Ligon, Gordon Matta-Clark, Claudia Rankine, Collier Schorr, and Sukhdev Sandhu, concluding with a round-table conversation with exhibition curators Peter Eleey, Douglas Crimp, Thomas J. Lax and Mia Locks. The series is edited by Jocelyn Miller, Curatorial Associate, MoMA PS1.
Published by Sangria. Edited by Monica Rios, Carlos Labbe. Introduction by Jane Crawford. Foreword by Gwendolyn Owens. Afterword by Maria Berrios.
From 1970 to 1978, Gordon Matta-Clark (1943–1978) was in the habit of jotting down notes on index cards that he carried with him throughout his travels, from Lower Manhattan to Santiago de Chile, from Ithaca to Paris and New Jersey. This book compiles these "art cards." Combining writing and drawing, Matta-Clark’s statements--some only a few words long, others a paragraph--are both manifestos and meditations on his life ("the pockets that carry you through the day"), his craft ("Proposal to a Wall St stock broker: to cut through a tax shelter") and the built environment ("To the nature of materials Anarchitecture adds a notion of events"). Ranging in tone from the melancholic to the cheerful, these art cards are saturated throughout with the excitement of living as an artist in 1970s New York City.
BOOK FORMAT Paperback, 4.75 x 6.5 in. / 404 pgs / 404 bw.
PUBLISHING STATUS PUB DATE 4/30/2014 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2014 p. 172
PRODUCT DETAILS ISBN 9789568681234FLAT40 LIST PRICE: $30.00 CDN $35.00
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Published by Silvana Editoriale. Edited by Lorenzo Fusi, Marco Pierini. Text by James Attlee, Jane Crawford, Louise Désy, Lorenzo Fusi, Gwendolyn Owens, Marco Pierini.
This catalogue covers the brief but groundbreaking career of the self-proclaimed "anarchitect" Gordon Matta-Clark (1943–1978), one of the most influential American artists of the 1970s. The immense ambition and scale of his projects, and their fearless reimagining of the urban landscape, challenged city-dwellers to reconsider the very notion of built structure and the fragility of seemingly unassailable edifices. Matta-Clark’s first interventions took place in abandoned, derelict structures, upon which he performed his famous "building cuts" and "intersects." First published in 2008 (for a show at SMS Contemporanea in Siena), and organized thematically and chronologically, this substantial volume looks at these and other bodies of work, such as the Food restaurant, the performances, the "estates" and the artist’s pursuit of alternative economical housing. The catalogue also includes a filmography and critical essays, plus an interview done by Judith Russi Kirshner in 1978.
Published by Moderne Kunst Nürnberg. Edited by Hubertus von Amelunxen, Angela Lammert, Philp Ursprung. Text by Jane Crawford, Dan Graham, Pamela Lee, Gwendolyn Owens, Mark Wigley, et. al.
With his astounding building cuts and intersects, Gordon Matta-Clark (1943-1978) opened up elegant geometries in the very structures that seem most substantial and most authoritative in urban existence, revealing the alienations of the urban fabric as convenient fictions and allowing life to flow into the most inhospitable and self-contained of buildings. One of his favorite responses to a work came from a Parisian concierge: “I see the purpose for that hole--it is an experiment in bringing light and air into spaces that never had enough of either.” Throughout his all-too-brief career, Matta-Clark undertook civic aeration on many fronts, cofounding the now legendary Food Restaurant in 1971, buying up empty lots in Queens and evolving his theory of “anarchitecture” in films, photomontages and numerous writings and drawings. Anarchitecture redefined negative space in art as a political act, distinguishing itself from architecture by imagining a cure for its most pernicious effects. Gordon Matta-Clark: Moment to Moment offers a comprehensive overview of this courageous and liberating artist with a wealth of documentation and reproductions from across Matta-Clark's oeuvre, as well as critical commentary from Philip Ursprung, Angela Lammert, Hubertus von Amelunxen, Dan Graham and others.
Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born Surrealist painter Roberto Matta and Anne Clark, and godson of Marcel Duchamp, with whom he played a regular game of chess in the Village, Matta-Clark had grown up inside the art world, also working an as assistant to mavericks like Dennis Oppenheim and Robert Smithson. His work and words, while sophisticated enough to make him an "artist's artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. He addressed not only space and real estate (in other words, housing), but the ultimate in necessity and nourishment, food. His "Pig Roast" under the Brooklyn Bridge offered passersby 500 pork sandwiches, and Food, the artist-staffed restaurant that he opened with dancer Caroline Goodden in SoHo, became a headquarters for that nascent neighborhood in the early 70s. He consistently broke the boundaries between sculpture and architecture, photography and film, performance and installation, and above all the permanent and the transitory. Once in a while he also broke the law. This book, published in celebration of the gradual opening of Matta-Clark's archives at the Canadian Centre for Architecture in Montreal, collects previously unavailable writings, including notecards and notebooks, along with interviews and more than 100 illustrations.
Published by Cabinet Books/The Queens Museum of Art/White Columns. Edited by Jeffrey Kastner, Sina Najafi and Frances Richard. Essay by Jeffrey Kroessler.
In the summer of 1973, artist Gordon Matta-Clark discovered that the city of New York occasionally auctioned improbably tiny and frequently inaccessible parcels of land created by zoning eccentricities. Fascinated by these spaces, he bought 15 of them (14 in Queens, and one in Staten Island) for between $25 and $75 each, photographed them and collated the photographs with the appropriate deeds and maps. He called the project Fake Estates. Odd Lots: Revisiting Gordon Matta-Clark's “Fake Estates” further documents and advances this seminal work, and accompanies Cabinet magazine's exhibition at the Queens Museum of Art and White Columns in New York. Included here are responses to Matta-Clark's original artwork by 20 contemporary artists including Francis Alÿs, Jimbo Blachly, Mark Dion, Sarah Oppenheimer, Dan Price and Mierle Ukeles. Odd Lots also provides the definitive Fake Estates history, thus adding new dimension to the scholarship on this important artist*all within the spirit of collaboration and experimentation that marked Matta-Clark's short but influential career.
Published by San Francisco Cinemateque. Essay by Steven Jenkins.
Images of the deconstruction of abandoned buildings and industrial structures are closely associated with “anarchitect” Gordon Matta-Clark. Here, however, are the film works through which Matta-Clark furthered his lifelong excavation of urban dwellings. In this book, San Francisco Cinematheque presents a retrospective of the moving-image works through which Matta-Clark explored his aesthetic assumptions and philosophical inquiry. Featuring rarely published images and a quartet of imaginative essays, City Slivers and Fresh Kills establishes Matta-Clark's films as perhaps his most surprising, and certainly most viscerally arresting body of work, characterized by the same creative provocation, rough aesthetic beauty and intellectual insight that idefined his signature architectural cuttings and slicings.
PUBLISHER SAN FRANCISCO CINEMATEQUE
BOOK FORMAT Paperback, 6 x 9 in. / 64 pgs / illustrated throughout.
PUBLISHING STATUS PUB DATE 6/15/2004 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2005 p. 147
PRODUCT DETAILS ISBN 9780974999609TRADE LIST PRICE: $20.00 CDN $25.00
AVAILABILITY Not Available
STATUS: Out of print | 00/00/00
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Published by Walther König, Köln. Essay by Catherine Morris. Foreword by Markus Muller.
In honor of Food, the restaurant which Gordon Matta-Clark established in Soho, New York, this publication is presented in the form of a restaurant menu, and documents the artist's varied and imaginative work, including sculptures, film stills, and photos.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Paperback, 8.25 x 12 in. / 48 pgs / 56 bw
PUBLISHING STATUS PUB DATE 5/2/2001 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2001
PRODUCT DETAILS ISBN 9783883754352SDNR30 LIST PRICE: $14.00 CDN $15.00
AVAILABILITY Not Available
STATUS: Out of print | 10/22/2002
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Gordon Matta-Clark (1943-1978) is one of the great heroes of late twentieth-century art, a cult figure as much in the contemporary art world as on the architecture scene, whose work is independent from any movement or school. This book is the first and definitive monograph on the artist, who died at the age of thirty-five. Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through fa+ades, walls and floors of derelict buildings. This 'deconstructing' gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark's interventions are always grounded in social or political convictions. Some of his projects include opening a restaurant (Food, 1971) in the then-neglected district of SoHo in New York, purchasing at auction fractions of unusable urban land in New York (Reality Properties: Fake Estates, 1973), dispensing oxygen to passersby in the streets of New York from a self-made cart (Fresh Air Cart, 1972), and other visionary urban projects that he conceived as a founding member of the New York-based Anarchitecture group. His practice remains one of the most unique, unequalled, and hugely influential of the past decades.
PUBLISHER KOENIG IMPORT
PUBLISHING STATUS Active
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PRODUCT DETAILS ISBN 9780714845876RETAIL LIST PRICE: $52.86 CDN $52.86
Gordon Matta-Clark's Conical Intersect (1975) was a torqued, spiraling "cut" into two derelict seventeenth-century Paris buildings adjacent to the construction site of the controversial Centre Pompidou. With this landmark work of "anarchtecture," Matta-Clark not only opened up these venerable residences to light and air, he also began a dialogue about the nature of urban development and the public role of art. Considered three and a half decades later, Conical Intersect reveals the multivalent nature of the artist's practice and his prescient focus on sustainability and creative reuse of the built environment. Conical Intersect and the two buildings were demolished as part of a large-scale urban renovation of the historic market district of Les Halles; today we can know the work only from drawings, photographs, and a short Super 8 film. In this illustrated study, Bruce Jenkins examines Matta-Clark's "non-u-ment," looking closely at the artist's proposals, working process, various forms of documentation, and the dialogue begun by Matta-Clark's decision to transform two abandoned buildings "into an act of communication."
PUBLISHING STATUS Active
DISTRIBUTION CONTACT PUBLISHER
PRODUCT DETAILS ISBN 9781846380730RETAIL LIST PRICE: $16.00 CDN $16.00