Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
Gabriel Orozco was born in Veracruz, Mexico, in 1962, and currently lives in Mexico City, New York and Paris. He has been the subject of one-person exhibitions at The Museum of Modern Art, New York, the Museum of Contemporary Art, Chicago, the Art Gallery of Ontario and the Museum of Contemporary Art, Los Angeles. His work was included in Documenta X (1997) and the 2003 Venice Biennale; he is represented in New York by Marian Goodman Gallery.
Published by Walther König, Köln/Marian Goodman. Text by Pablo Soler Frost. Interview by Briony Fer.
An Island Is A Circle amasses Gabriel Orozco’s (born 1962) recent work created while living in Bali. Designed in close collaboration with the artist, the publication includes images taken by Orozco in his workshop.
Published by Aspen Art Press. Afterword by Heidi Zuckerman.
Resisting confinement to a single medium, critically acclaimed Mexican artist Gabriel Orozco (born 1962) explores the poetry of chance encounters while blurring the boundary between art and the everyday. Known for works such as the Citroën automobile surgically reduced to two-thirds its normal width (“La DS,” 1993) and a human skull covered with a graphite grid (“Black Kites,” 1997), Orozco explores complex geometry, mapping and anatomy in a creative, playful, elegant and inventive manner. Gabriel Orozco presents several new works by the artist, including a series of graphite drawings, glass panel sculptures, aluminum sculptures and oil and tempera paintings with gold leaf. This volume focuses on the intersection of nature and culture in the artist’s work, underscoring Orozco’s interest in geometry’s function as an extension of the natural world.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Anne Byrd, Benjamin H. D. Buchloh, Briony Fer, Paulina Pobocha.
Gabriel Orozco emerged at the beginning of the 1990s as one of the most intriguing and original artists of his generation, one of the last to come of age during the twentieth century. His work is unique in its formal power and intellectual rigor, resisting confinement to one medium and roaming freely and fluently among drawing, photography, sculpture, installation and painting. Orozco deliberately blurs the boundary between the art object and the everyday environment, situating his work in a place that merges art and reality, whether through exquisite drawings made on airplane boarding passes or sculptures composed of recovered trash. This publication examines two decades of the artist's production year by year, from 1989 through 2009. Each section is richly illustrated and includes a short text, based on interviews with the artist, that combines biographical information with a brief and focused discussion of selected works. Critical essays by Ann Temkin, Benjamin H.D. Buchloh and Briony Fer supplement these foundational and chronological explorations, providing new insights and strategies for grounding Orozco's work in the larger landscape of contemporary art production. Gabriel Orozco (born in Mexico, 1962) studied at the Escuela Nacional de Artes Plásticas in Mexico City, and at the Círculo de Bellas Artes in Madrid, Spain. He has exhibited at the Whitney Museum of American Art, The Museum of Modern Art, New York, the Guggenheim Museum, the Philadelphia Museum of Art and the Venice Biennale. Orozco lives and works in New York, Paris and Mexico City.
Taking the Samurai move (sometimes also called the Knight's move) from the game of chess as his starting point, conceptual artist Gabriel Orozco examines all of the possible mutations within a self-defined spatial and color system in this extremely elaborate, and also quite elegant, artist's book. In each of the 672 digital prints reproduced here, a circle is drawn in the center, and moving out from this point, a sequence of increased or decreased circles is also drawn, until the limits of the square are reached. Each of these original prints is roughly 20 inches square, and seen together, they calculate all the possible movements and variations within the rules that Orozco set, which he called "The Samurai Tree." This book spells out an almost incomprehensible complexity in white red, blue and gold.
Published by Turner/A&R Press/Conaculta-INBA. Text by Yve-Alain Bois, Benjamin H.D. Buchloh, Briony Fer.
The work of Gabriel Orozco is an exemplary adventure of ideas and objects. Always generously implicating the spectator, Orozco draws on a large material repertoire to produce quiet shifts in commonplace scenarios. This book, published to coincide with Orozco's exhibition at the Museo del Palacio de Bellas Artes in Mexico City, is the first substantial monograph on the artist, and testifies to the range of his investigations, from tiny adjustments in everyday locations (such as breath on a piano or reflections in a puddle) to more recent preoccupations with spherical forms in collage and paint. In an extensive interview with Briony Fer, the artist explains some of the conceptual premises of his art. Benjamin H.D. Buchloh situates Orozco´s various sculptural practices within twentieth-century precedents and the climate of postwar consumerism and assesses them as manifestations of a shift in object-subject relations. And Yves-Alain Bois explores Orozco's recent "return" to painting, considering the structural logic of his canvases, in which Orozco deploys self-imposed rules to plot compositions (or "diagrams," as he describes them). With insightful texts and hundreds of illustrations, this big, bold, 360-page book is the definitive work to date on one of the most influential contemporary artists.
If the art world had playoffs, Gabriel Orozco might be the Duchampion of the world. His interactive, conceptual investigations into games convert common objects like Ping-Pong and billiard tables into fields of dreamy speculation. Like Marcel Duchamp, reexamining our experience of the world through the familiar objects around us, newly aestheticized. Indeed, Orozco has insisted that “reality” is his medium (rather than the photography, installation and sculpture which he produces). This catalogue for an exhibition at Madrid's Palacio de Cristal displays Orozco's fascination with games, as in his “Ping Pond Table,” a four-sided table-tennis platform with a lily pond in the middle, and his Atomists series, in which geometric patterns partly cover wildly animated photographs of sports figures.
Published by Walther König, Köln. Essays by Jean-Pierre Criqul, Molly Nesbit and Angeline Scherf.
A circular book that begins in the middle, this volume explores a variety of lesser-known but important works by Orozco, most of them found in European collections. These process oriented works--drawings, photographs and objects--bring to light some of the essential characteristics of Orozco's artistic attitude, an attitude that underlies most of his major works, that raises awareness through the sculptural everyday.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 11.75 x 8 in. / 144 pgs / 95 color.
PUBLISHING STATUS Pub Date 1/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9783883756134SDNR30 List Price: $55.00 CDN $65.00
Published by Walther König, Köln. Essays by Benjamin H.D. Buchloh, Briony Fer, and Rochelle Steiner.,
The concept and layout for this artist's book and catalogue in one were conceived by Gabriel Orozco in cooperation with graphic designer Luc Derycke. It features works from 1992 until present--works that delve into geometric patterns, their permutations, and their relations to human forms and movements. Many drawings are included, as well as photographs of the artist's somewhat lesser-known installations.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 8.5 x 10.5 in. / 176 pgs / 159 color.
PUBLISHING STATUS Pub Date 6/15/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 135
PRODUCT DETAILS ISBN 9783883758374SDNR30 List Price: $40.00 CDN $50.00
Published by Artimo/Stedelijk Museum Amsterdam. Artwork by Gabriel Orozco. Contributions by Martijn van Nieuwenhuyzen.
In 1993, Gabriel Orozco removed a lengthwise section of a Citroen DS and reconnected the two sides, making the car's fleet form look lighter yet. In From Green Glass to Airplanes, Orozco continues to experiment with form and play with the viewer's perceptions. His work is singular in its balancing of political and social commitment with an exploration and deconstruction of the possibilities of sculpture, photography and art. This sizeable and extensive volume features 544 pages of Orozco's work with over 250 images of his work reproduced in full color.
PUBLISHER Artimo/Stedelijk Museum Amsterdam
BOOK FORMAT Paperback, 7.5 x 9.5 in. / 544 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 11/2/2001 Out of print
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9789075380101RETAIL List Price: $25.00 CDN $25.00
Published by Koenig Books. Text by Benjamin H. D. Buchloh, Luciano Concheiro, Jori Finkel, Juan Villoro.
Oroxxo documents an installation at Mexico City's Kurimanzutto Gallery, where Gabriel Orozco (born 1962) installed an Oxxo store. Featuring commercial goods modified by the artist, the installation was divided into two spaces, each representing an approach to understanding the capitalist world in demise.
Published by Cahiers d'Art. Edited by Staffan Ahrenberg, Sam Keller, Hans Ulrich Obrist, Anya Bondell. Text by Jean Louis Cohen, Béatrice Gross, Daniel Birnbaum, et al.
The 2016-2017 Cahiers d'Art revue featuring Gabriel Orozco explores the artist’s recurring themes of geometry, games, working tables throughout commissioned texts by Briony Fer, Benjamin Buchloh, André Rottman and an interview between Hans Ulrich Obrist and Orozco.
Abundantly illustrated with series of major works as well as the artists most recent and largely unpublished works, this unique publication also includes an original silk-screened artwork made specially by Orozco for the issue.
Also includes: Excerpts from the Catalogue Raisonné of the drawings of Frank Gehry by Jean-Louis Cohen (to be published by Cahiers d’Art in Spring 2020); A text by Béatrice Gross on the late wall drawings of Sol LeWitt; A visual story of the creative process behind the newly opened Skulpturenhalle housing the Thomas Schütte Foundation, the largest building constructed from a model by the artist; A comprehensive essay on the influence of Cahiers d’Art on the work of Picasso, specifically focusing on his ceramics, by Picasso scholar Harald Theil; Portfolios of recent works by Adel Abdessemed and John Giorno; The former is accompanied by an essay by Daniel Birnbaum.
Published by Kunsthaus Bregenz. Edited by Yilmaz Dziewior. Text by Yilmaz Dziewior, Pablo Soler Frost, María Minera, André Rottmann.
Natural Motion brings together well-known works by Gabriel Orozco (born 1962), such as Dark Wave (an enormous suspended and decorated whale skeleton), alongside examples of more recent work, such as carved river stones, plus a comprehensive presentation of his ongoing work in terracotta.
PUBLISHER Kunsthaus Bregenz
BOOK FORMAT Hardcover, 8.27 x 10.51 in. / 266 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 4/30/2014 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 176
PRODUCT DETAILS ISBN 9783863353308FLAT40 List Price: $65.00 CDN $75.00
Published by Walther König, Köln. Text and interview by Hans Ulrich Obrist.
In this artist’s book, Mexican artist Gabriel Orozco (born 1962) takes New York Times obituaries of famous people, removing anecdotal information to reveal the wit, drama and absurdity of the press perception of public life.
Published by Guggenheim Museum Publications. Text by Nancy Spector.
Gabriel Orozco’s Asterisms is a two-part sculptural and photographic installation comprising thousands of items of detritus he gathered at two sites--a coastal wildlife reserve in Baja California, Mexico, and a playing field near his home in New York City. The first component of the installation, Sandstars, draws on the voluminous amounts of waste deposited on the shores of the wildlife reserve by Pacific currents. Orozco’s monumental sculptural carpet of nearly 1,200 objects is accompanied by 12 large-scale gridded photographs of the individual objects in a studio setting, organized typologically by material, color and size. An additional grid documents the landscape from which the objects were retrieved, along with incidental compositions made in situ from the castaway items. The second component, Astroturf Constellation, also explores taxonomic classification, but on a completely different scale. It comprises a collection of miniscule bits of debris--again numbering around 1,200 items--left behind by athletes and spectators in the Astroturf of a playing field in New York City. As with Sandstars, the objects are displayed alongside 13 photographic grids. This volume highlights Orozco’s subtle practice of subjecting the world to personal, idiosyncratic systems while invoking several of the artist’s recurrent motifs, including the effects of erosion, the poetry of the mundane, the relationship between the macro and the micro and the tension between nature and culture.