Artist page 
Gordon Matta-Clark
Upcoming Museum Exhibition: Anarchitect
2017–2018
Jeu de Paume, Paris
Gordon Matta-Clark
Graffiti: Linda, 1973
Gelatin silver print with hand coloring
18 3/4 x 31 3/4 inches (47.6 x 80.6 cm)

June 5—September 23, 2018

Gordon Matta-Clark: Anarchitect travels to Jeu de Paume following its critically acclaimed debut at The Bronx Museum of the Arts (November 8, 2017–April 8, 2018). The exhibition explores how the artist's practice introduced radical ways of subverting urban architecture, beginning with the series of "cuts" he produced in the Bronx in the early 1970s. Some of his best-known projects involved laboriously cutting holes in the floors of abandoned or soon-to-be-demolished buildings or, as with Splitting (1974), meticulously slicing a house in two.

The exhibition has been organized by Antonio Sergio Bessa, Director of Curatorial and Education Programs at The Bronx Museum of the Arts with Jessamyn Fiore, co-director of the Matta-Clark Estate, and includes more than 100 artworks as well as film projections and rarely seen materials from the artist's archive. The exhibition will also travel to the Kumu Art Museum in Tallinn in Estonia.

Jessamyn Fiore and Federica Matta on Gordon Matta-Clark
2018
Talk at The Bronx Museum of the Arts

Gordon Matta-Clark: Anarchitect at The Bronx Museum of the Arts explored how the artist’s practice introduced radical ways of subverting urban architecture, beginning with the series of "cuts" he produced in the Bronx in the early 1970s. Some of his best-known projects involved laboriously cutting holes in the floors or walls of abandoned or soon-to-be-demolished buildings or, as with Splitting (1974), meticulously slicing a house in two.

Saturday, March 10, 5–6 PM
The Bronx Museum of the Arts, New York

Jessamyn Fiore, the exhibition’s curator and co-director of the Estate of Gordon Matta-Clark, and Federica Matta, the artist’s sister, gave a talk about Matta-Clark’s work.

Splitting, Cutting, Writing, Drawing, Eating...Gordon Matta-Clark
2017
Solo exhibition at Serralves Museum in Porto

May 5–September 3, 2017

Splitting, Cutting, Writing, Drawing, Eating...Gordon Matta-Clark explored the actions and activities that characterized the artist's groundbreaking practice.

The exhibition included letters, drawings, photographs, notebooks, and films related to key projects by Matta-Clark drawn from the archive of the Canadian Centre for Architecture in Montréal, and focused on the social and creative aspects of his approach—as he described it, of "making space without building it."

GMCT1039_basel

Availability 
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Artists 
Dimensions 
32 x 22 3/4 inches (81.3 x 57.8 cm)
Materials 
Collaged gelatin silver prints
Images format 
Artwork
Images display 
Grey display
Front title 

Splitting

Year 
1974
Basel Additional Info 

Splitting, 1974

Collaged gelatin silver prints
32 × 22 3 /4 inches (81.3 × 57.8 cm) 

Gordon Matta-Clark's (1943-1978) practice during the 1970s introduced new and radical modes of physically exploring and subverting urban architecture. Splitting, 1974, documents one of his first iconic "cut" pieces, in which the artist, along with several friends, laboriously sliced open an abandoned twostory house that was slated for demolition in Englewood, New Jersey, during the spring of 1974. Over a period of several months, Matta-Clark made two parallel vertical cuts through all of the house's structural surfaces; he then removed several of the foundation blocks on which it stood, making one half of the house lean slightly away from the other, creating a wedge-shaped interstice between the two sides. Before the building was demolished and removed in September 1974, he also extracted the four upper corners of the structure, subsequently exhibiting them as freestanding works of art (now in the collection of the San Francisco Museum of Modern Art).

The transformation of this vacant, quintessential suburban home, which for Matta-Clark represented the decay of the American dream, generated a series of uncanny and somewhat vertiginous photographs. In the present work, a unique collage, Matta-Clark has combined photographic fragments to create a disorienting perspective of his building cuts. The formal and thematic sensibility of this image expresses the artist's ingenuity in regard to the convergence of photography and the medium of architecture. His photocollages express the multiplicity of perspectives that his architectural cuts afford.

Like many artists of his generation (most notably Robert Smithson), Matta-Clark expressed a pronounced fascination with the temporal qualities of architecture and the art object. Nearly all of the architectural cuts he produced were ephemeral and survive only in film or photographic form; Splitting is one such work. A related photo-collage also titled Splitting is in the collection of The Museum of Modern Art, New York.

GMCT1039

Availability 
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Artists 
Dimensions 
Framed: 41 x 31 inches (104.1 x 78.7 cm)
Materials 
Collaged gelatin silver prints
Images format 
Thumbnail
Images display 
Grey display
Front title 

Splitting

Year 
1974

Concurrent with A W-Hole House, is a show of Matta-Clark's drawings at Zwirner & Wirth. This exhibition examines the range of work from the artist's earliest studies of the movement of energy flowing through structures such as trees, to more abstract circuitry, and from theoretical architectural studies to actual proposals, such as those for the Museum of Modern Art in New York. Also included are several of the artist's Cut Drawing Pads, demonstrating the artist's unique approach to graphic art using a jigsaw rather than a pen. One such work, Infraform, includes photos of a project which was executed in Milan during the same period the A W-Hole House project.

 

From the beginning, Matta-Clark's methods explored and fused different media: architecture, performance, sculpture, drawing, photography, and film. In both his art and his attitude, he sought a more open society, and proposed a new way of seeing rather than altering his environment. He focused on the commonplace and the "throw-aways" such as the city's many abandoned buildings. In cutting through walls and traditional art rules, he transformed examples of urban blight into art.

 

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GMCT3026

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Artists 
Dimensions 
Recreation of the original “Open House” between 98 and 112 Greene St, New York. Overall: 10' 5 5/8 x 6' x 20'
Materials 
Dumpster, wood, metal, drywall, recycled materials
Images format 
Thumbnail
Photo Credit 

Loan Courtesy of MAMCO, Geneva

Images display 
Grey display
Front title 

Open House

Year 
1972/2007

GMCT295.VR

Price 
$75000.00
Availability 
Available
Artists 
Dimensions 
Framed: 24 5/8 x 36 5/8 inches (62.5 x 93 cm)
Materials 
Gelatin silver print with hand coloring
Images format 
Artwork
Images display 
Grey display
Front title 

Graffiti: E-Z 129

Year 
1973

GMCT321.VR

Price 
$75000.00
Availability 
Available
Artists 
Dimensions 
29 x 40 1/4 inches (73.7 x 102.2 cm)
Materials 
Gelatin silver print with hand coloring
Additional 

Signed, dated, and inscribed verso

Images format 
Artwork
Images display 
Grey display
Front title 

Graffiti: Soul Power

Year 
1973

On the occasion of the gallery’s 25th anniversary, David Zwirner will present a special exhibition celebrating the artists who have shaped the gallery’s program since its founding in 1993.

 

On view across all of the gallery’s Chelsea spaces in New York (519, 525 & 533 West 19th Street and 537 West 20th Street), the exhibition will feature artworks by the gallery’s artists, including significant historical work, alongside new and never-before-seen works commissioned specially for the occasion.

 

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Layout 
Carol Bove
Lemon, 2017
Stainless steel, found steel, and urethane paint
62 3/4 x 113 3/4 x 55 1/2 inches (159.4 x 288.9 x 141 cm)
Josef Albers
Study for Homage to the Square: Distant, 1964
Oil on Masonite
Framed: 24 5/8 x 24 5/8 inches (62.5 x 62.5 cm)
Marcel Dzama
Die Verwandlung, 2017
Watercolor, ink, and graphite on paper
Framed: 94 3/4 x 66 inches (240.7 x 167.6 cm)
Jeff Koons
Bluebird Planter, 2010-2016
Mirror-polished stainless steel with transparent color coating and live flowering plants
82 1/2 x 115 x 41 1/2 inches (209.5 x 292.1 x 105.4 cm)
Philip-Lorca diCorcia
Buddy, 2017
Inkjet print
Framed: 45 1/4 x 64 1/2 inches (114.9 x 163.8 cm)
Wolfgang Tillmans
Vapeur, 2017
Inkjet print on paper, clips
161 3/4 x 108 1/8 inches (410.8 x 274.6 cm)
Ruth Asawa
Untitled (S.535, Hanging Five Lobed Continuous Form within a Form and Two Interior Spheres and One Teardrop Form), 1951
Hanging sculpture—iron and brass wire
87 x 12 1/2 x 12 1/2 inches (221 x 31.8 x 31.8 cm)
Josh Smith
Coming Home, 2018
Oil on linen
60 x 48 inches (152.4 x 121.9 cm)

GMCT172

Availability 
None
Artists 
Dimensions 
4 parts: 29 x 32 3/4 inches (73.7 x 83.2 cm) Each: 20 x 24 inches (50.8 x 61 cm)
Materials 
Gelatin silver prints
Images format 
Artwork
Images display 
Grey display
Front title 

Bingo

Year 
1974

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