Object to Be Destroyed: The Work of Gordon Matta-Clark

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.

Arts & Photography

Lee, Pamela M.

Matta-Clark, Gordon

Architecture

Mit Pr

Gordon Matta-Clark: An Archival Sourcebook (Documents of Twentieth-Century Art)

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. &nbsp; In 2002, when Gordon Matta-Clark's widow, Jane Crawford, put his archive on deposit at the Canadian Centre for Architecture in Montreal, it revealed a new voice in the ongoing discussion of artist/architect Matta-Clark's work: his own. Gwendolyn Owens and Philip Ursprung's careful selection and ordering of letters, interviews, statements, and the now-famous art cards from the CCA as well as other sources deepens our understanding of one of the most original thinkers of his generation. Gordon Matta-Clark: An Archival Sourcebook creates a multidimensional portrait that provides an opportunity for readers to explore and enjoy the complexity and contradiction that was Gordon Matta-Clark.

History & Criticism

University of California Press

An essential reference that provides new understanding of the thought processes of one of the most radical artists of the late twentieth century.\nGordon 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.\nIn 2002, when Gordon Matta-Clark’s widow, Jane Crawford, put his archive on deposit at the Canadian Centre for Architecture in Montreal, it revealed a new voice in the ongoing discussion of artist/architect Matta-Clark’s work: his own. Gwendolyn Owens and Philip Ursprung’s careful selection and ordering of letters, interviews, statements, and the now-famous art cards from the CCA as well as other sources deepens our understanding of one of the most original thinkers of his generation. Gordon Matta-Clark: An Archival Sourcebook creates a multidimensional portrait that provides an opportunity for readers to explore and enjoy the complexity and contradiction that was Gordon Matta-Clark.\nFrom the Back Cover\n"This archive reveals a palpable, living document not only of a formidable artist, but also of an electric era upon which the present stands."—Mary Jane Jacob, Professor and Director of the Institute for Curatorial Research and Practice, School of the Art Institute of Chicago, and curator and editor of Gordon Matta-Clark: A Retrospective\n"Anyone interested in Matta-Clark needs this book; no other volume makes such a wide selection of the archive available. In some real ways, Matta-Clark’s career is the archive."—Frances Richard, author of Gordon Matta-Clark: Physical Poetics

Gordon Matta Clark: You Are the Measure

Whitney Museum of American Art

Urban Alchemy

Herndon-Consagra, Francesca (Curated by)

Pulitzer Foundation for the Arts

Gordon Matta-Clark & Pope.L: Impossible Failures (6) (Clarion)

Pope, L.

David Zwirner Books/52 Walker

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 crossovers between visual and performance arts, as well as the broader integration within his oeuvre of the natural and built environment. Documenting the artist’s extraordinary accomplishments as a draftsman, this publication originates from the 2015 solo presentation at David Zwirner, New York, entitled Energy &amp; Abstraction, organized in close collaboration with Jane Crawford and Jessamyn Fiore from the Estate of Gordon Matta-Clark. This catalogue presents in vibrant detail 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 parallel, smaller-format versions of his physical interventions in architecture; slicing meticulously through several layers of paper, gesso, or cardboard, Matta-Clark created sculptural flat works that emphasized the voids created by the extraction of matter. Drawings with his own “calligraphy” emphasize the medium of drawing as an independent form. Abstract letters make up a code that remains indecipherable, but points toward a visionary longing to invent new languages and structures of experience. Some of the most elaborate and colorful compositions include trees, several of which refer explicitly to Matta-Clark’s Tree Dance performance at Vassar College in upstate New York in 1971. In full-color plates, the reader can see the physical structure of his trees “dissolving” into kinetic energy and, in some drawings, becoming reduced to a multitude of arrows. Near-abstract tree shapes also incorporate his calligraphic marks, with branches constructed from imaginary letters, again emphasizing the importance of language to a new visual experience. Matta-Clark’s notebooks, which he often insisted on completing in a single sitting, are presented in elegantly curated groups. Combining elements of Surrealist automatic drawing with an interest in choreography, these works appealed to performance artists at the time—including Laurie Anderson and Trisha Brown. This unparalleled presentation of Matta-Clark’s drawings is accompanied by new and exciting scholarship by Briony Fer, as well as a conversation between Jessamyn Fiore and contemporary artist Sarah Sze; it marks a major contribution to the literature on this highly influential artist.

Gordon Matta-Clark: The Beginning of Trees and the End

David Zwirner Books

Gordon Matta-Clark: [IVAM Centre Julio González, Valencia 3 diciembre 1992/31 enero 1993 : Musée Cantini, Marsella, 5 marzo/23 mayo 1993 : ... 30 junio/15 agosto 1993] (Spanish Edition)

Photography & Video

Generalitat Valenciana, Conselleria de Cultura, Educació i Ciència

Gordon Matta-Clark

Museo Nacional Centro de Arte Reina Sofía

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