Stephen Walker's Gordon Matta-Clark: Art, Architecture and the Attack on PDF


By Stephen Walker

Recognized for - or even overshadowed by way of - his brutal and outstanding development cuts, Gordon Matta-Clark's oeuvre is exclusive within the background of yankee paintings. He labored within the Nineteen Seventies at the boarders among artwork and structure and his different perform is usually understood as an outright rejection of the tenets of excessive modernism. Stephen Walker argues in its place for the artist's ambivalent courting with the architectural history he's usually claimed to disavow, hence making this the 1st booklet to extrapolate Matta-Clark's considering past its quick context.Walker considers the extensive diversity of Matta-Clark's ephemeral perform, from montage to real interventions and from functionality artwork and install to drawing, movie and video. Bringing to the fore the constant topics and concerns explored via this vast variety of media, and particularly the complicated suggestion of the 'discreet violation', he unearths the ongoing relevance of Matta-Clark's creative and theoretical oeuvre to the reception of creative and architectural paintings this present day.

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Extra info for Gordon Matta-Clark: Art, Architecture and the Attack on Modernism

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Instead of the dark room of the traditional Camera Obscura, which allowed the fundamental separation between observer and world, Matta-Clark’s optics operated to highlight their connections. This distinction is important; the separation between interior and exterior effectively predicated the use of this metaphor in the philosophical writings of the seventeenth and eighteenth centuries. Crary argues that there occurred an epistemological shift during the early years of the nineteenth century, and it suits his project to maintain and emphasise this interior-exterior separation up to that point.

Rather than undergoing a predictable and controllable process and becoming subordinate to a static, regular form, matter was shown here to be enjoying spontaneous life forces of its own. As a development of these projects, works such as Garbage Wall (1970–1) and Jacks (1971)23 (figure 5) demonstrated that even within the domestication carried out by the suburbanising model, matter could be found that was no longer cultivated. By working with urban waste, these projects drew attention to this aporetic chaos within the cultivated sphere.

His project Circus, discussed in the previous chapter in terms of ‘new kind of space’ that he sought FORM (& MATTER) 33 through his method of discrete violation, also demonstrated an equally strong interest regarding the process of cutting into the material of the building itself. This was the last of many realised cuts, which had begun modestly with projects such as the Santiago project. This, together with other early cuts such as the series Bronx Floors illustrated in figure 3, sought to introduce new experiences of space by opening up unexpected views through a building.

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