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112 Greene Street
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 p...
Object to Be Destroyed
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...
Gordon Matta-Clark: The Beginning of Trees and the End
Documenting the artist’s extraordinary accomplishments as a draftsman, this publication originates from the 2015 solo presentation at David Zwirner, New York, entitled Energy & Abstraction, organized in close collaboration with Jane Crawford and Jessamyn Fiore from the Estate of Gordon Matta-Clark. Well known for his radical “anarchitectural” interventions throughout the 1970s, Gordon Matta-Clark 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. Intricate and concise, they testify to his interest in the...
Gordon Matta-Clark
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.
Gordon Matta-Clark
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...
American Artists Engage the Built Environment, 1960-1979
This volume reframes the development of US-American avant-garde art of the long 1960s—from minimal and pop art to land art, conceptual art, site-specific practices, and feminist art—in the context of contemporary architectural discourses. Susanneh Bieber analyzes the work of seven major artists, Donald Judd, Robert Grosvenor, Claes Oldenburg, Robert Smithson, Lawrence Weiner, Gordon Matta-Clark, and Mary Miss, who were closely associated with the formal-aesthetic innovations of the period. While these individual artists came to represent diverse movements, Bieber argues that all of them were attracted to the field of architecture—the work of architects, engineers, preservationists, lan...
ARCHITECTURE rendez-vous ART ‰Û¢ Episode 2
Art and Architecture are multi - faceted, with knowledge that reflects upon themselves. The intention for this course is to investigate the dialectical relationship between these two disciplines; through their theory and practice, context and materiality, form and representation, culture and territory; and to explore both languages as critical practices.The seminars will provide an informed introduction to the basic approaches to the relationship of two distinct languages that historically have engaged themselves and reflected social shifts. The students will examine, learn, discuss and represent possible strategies that art and architecture have created in cultural context with knowledge. Through discursive dialogue, the seminars will provide fundamental concepts of the theoretical vs. built production, the public vs. the private, politics to poetics, from mechanical to digital through an informed perspective of art in architecture within public and private spaces from 1914 to now with historical precedents.
Gordon Matta-Clark
An essential reference that provides new understanding of the thought processes of one of the most radical artists of the late twentieth century. Gordon Matta-Clark (1943–1978) has never been an easy artist to categorize or to explain. Although trained as an architect, he has been described as a sculptor, a photographer, an organizer of performances, and a writer of manifestos, but he is best known for un-building abandoned structures. In the brief span of his career, from 1968 to his early death in 1978, he created an oeuvre that has made him an enduring cult figure. In 2002, when Gordon Matta-Clark’s widow, Jane Crawford, put his archive on deposit at the Canadian Centre for Architectu...
Installation Art and the Practices of Archivalism
On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Mirosław Bałka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for ‘archival’ media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.
On the High Line
The most comprehensive, up-to-date, and acclaimed guide to the High Line by the leading expert on the history of the park—now in a fully revised edition Built atop a former freight railroad, the “park in the sky” is regularly cited as one of the premiere examples of adaptive reuse and quickly became one of New York’s most popular destinations, attracting more than 8 million visitors a year. This updated Third Edition of On the High Line— published to coincide with the fifteenth anniversary of the park’s opening—remains the definitive guide to the park that transformed an entire neighborhood and became an inspiration to cities around the globe. In short entries organized by roug...
