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. The Beginning of Trees and the End, published on the occasion of Matta-Clark's eponymous 2015 show at David Zwirner, documents the artist's extraordinary accomplishments as a draftsman. Organized by theme, the 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. Some of the most elaborate and colorful compositions include trees. 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. 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.
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. The Beginning of Trees and the End, published on the occasion of Matta-Clark's eponymous 2015 show at David Zwirner, documents the artist's extraordinary accomplishments as a draftsman. Organized by theme, the 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. Some of the most elaborate and colorful compositions include trees. 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. 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.
The Beginning of Trees and the End, published on the occasion of Matta-Clark's eponymous 2015 show at David Zwirner, documents the artist's extraordinary accomplishments as a draftsman. Organized by theme, the 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.
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. His practice introduced new and radical modes of
physically exploring and subverting urban architecture, and some of
his most well-known projects involved laboriously cutting holes
into floors of abandoned buildings or, as with Splitting (1974),
slicing a suburban villa in two.
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 a 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.
Artist Sarah Sze lives and works in New York. She has 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.
"Expansive, yet focused exhibition... Making the selection
particularly distinctive is its focus on the artist's works on
paper, a medium that contrasts with the New York native's
experiments with cement or other industrial materials."--O.C.
Yerebakan "Art Observed"
"Matta-Clark brutally manipulates whole buildings by physically
altering them as a performance and as a transitory sculpture. The
kinetic energy found in these site specific works is brought to
life in the drawings he has left behind."--Jamie Ho "Need Supply
Co."
"Matta-Clark was as accomplished at making drawings with pencils,
pens, markers, and crayons as he was at cutting into abandoned
warehouses, suburban homes, and dilapidated tenement buildings with
a chain saw. And these drawings offer a variety of insights into
the artist's attitudes about nature, movement, and
geometry..."--Phyllis Tuchman "ARTFORUM"
Matta-Clark's "calligraphy" and drafts "have magical powers that
are almost stronger when you can't read them, and a sense that
unreadable scripts return us to an era that's less pedestrian than
our own."--Blake Gopnik "Artnet News"
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