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Gordon Matta-Clark (1943-78) died at only 35 of pancreatic cancer
and has since become a cult figure of late 20th-century art.
Trained in architecture at Cornell, he went on to question the
field's conventions in vivid projects--performance and recycling
pieces, space and texture works and word games--some of which
excised holes into existing buildings or assembled deeds to New
York City alleys and curbs. The artist used a variety of media to
document his work, including film, video and photography. His work
and words, while sophisticated enough to make him an artist's
artist, and colossal and outgoing enough to draw public attention
and affection, were always also grounded in social or political
convictions. In the early 1970s, Matta-Clark developed the idea of
anarchitecture, which encompassed his interest in voids, gaps and
left-over spaces. Gordon Matta-Clark: Experience Becomes the Object
collects five essays and ten individual interviews with various
friends and family members of Matta-Clark's. Together, they outline
a biographical profile and offer an analysis of the historical
period in which the artist developed his short but successful
career. New, never-before-published material and photographs as
well as an exclusive link to the documentary Crosswords:
Matta-Clark's Friends by Matias Cardone are also included.
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 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.
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