Images
![/user_files/supporting_documents/wall_poster_forweb.jpg](/user_files/supporting_documents/wall_poster_forweb.jpg "{
\"title_id\": 12568,
\"slug\": \"the-wall\",
\"title\": \"The Wall\",
\"subtitle\": \"\",
\"title_translation\": null,
\"alternate_title\": \"\",
\"completion_date\": \"1976-2007\",
\"media_type_id\": 7717,
\"running_time\": \"15:04 min\",
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\"short_desc\": \"This newly assembled work is a rare document of a 1976 Matta-Clark performance in Berlin. The piece begins with the following statement: \\"In 1976, as part of the Akademie der Kunst and Berliner Festwochen exhibition 'Soho in Berlin,' Gordon Matta-Clark went to Germany with the intention of blowing up a section of the Berlin Wall. Dissuaded by friends from such a suicidal action, the result was the following performance.\\" The film records Matta-Clark as he stencils 'Made in America' on the Wall, affixes commercial advertisements over graffiti, and has a run-in with the police.\",
\"long_desc\": \"This newly assembled work is a rare document of a 1976 Matta-Clark performance in Berlin. The piece begins with the following statement: \\"In 1976, as part of the Akademie der Kunst and Berliner Festwochen exhibition 'Soho in Berlin,' Gordon Matta-Clark went to Germany with the intention of blowing up a section of the Berlin Wall. Dissuaded by friends from such a suicidal action, the result was the following performance.\\" The film records Matta-Clark as he stencils 'Made in America' on the Wall, affixes commercial advertisements over graffiti, and has a run-in with the police. A remarkable record of a little-known Matta-Clark performance, this work is also a historical time capsule of a political and physical landscape that no longer exists.\",
\"unique_id\": \"2368\",
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\"distribution_terms_and_usage\": \"Has been shown without audio when installed by the estate (at Jeu de Palme and 52 Walker). So presentations without sound, if necessary, may be allowable. \r\n\r\nJane Crawford writes: \\"obviously it looks best projected but on a large monitor would work too I\u2019m sure (like a flatscreen). If it\u2019s a small monitor I think the impact of the piece is lessened and it looks more like a document.\\" \u2013 KM 10\/16\/23\",
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\"created_date\": \"2008-12-02T11:33:00-05:00\",
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\"artist_id\": 333,
\"slug\": \"gordon-matta-clark\",
\"first_name\": \"Gordon\",
\"last_name\": \"Matta-Clark\",
\"alternate_name\": null,
\"link_title\": \"Gordon Matta-Clark\",
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\"group_contact\": \"Jessamyn Fiore\",
\"sex\": \"Male\",
\"cultural_background\": \"American\",
\"birth_year\": \"1943\",
\"birth_place\": \"New York, NY\",
\"death_year\": \"1978\",
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\"date_created\": \"2001-10-12T16:43:00-04:00\",
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\"title_id\": 12329,
\"slug\": \"intersection-conique-gordon-matta-clark\",
\"title\": \"\\"Intersection Conique\\" Gordon Matta-Clark\",
\"subtitle\": \"\",
\"title_translation\": \"\\"Conical Intersect\\" Gordon Matta-Clark\",
\"alternate_title\": \"\",
\"completion_date\": \"1975-2006\",
\"media_type_id\": null,
\"running_time\": \"17 min\",
\"color\": \"b&w\",
\"sound\": \"sound\",
\"by_credit\": \"Marc Petitjean\",
\"price_scheme_id\": 4424,
\"image_url\": \"matta_clark_conique.jpg\",
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\"keywords\": \"Gordon Matta-Clark\",
\"short_desc\": \"In September 1975, photographer Marc Petitjean documented Matta-Clark as he made one of his major \\"building cuts\\" in Paris. Created for the 1975 Paris Biennale, Matta-Clark's <i>Conical Intersect<\/i> was a spiraling cone-shaped cut through a pair of 17th-century buildings on rue Beaubourg. Slated for demolition as part of the \\"urban renewal\\" of the Les Halles district, the buildings were adjacent to the Centre Pompidou, then under construction. Petitjean records Matta-Clark's two-week process and interviews him at the site.\",
\"long_desc\": \"In September 1975, photographer and videomaker Marc Petitjean documented Matta-Clark in the process of making one of his major \\"building cuts\\" in Paris. Created for the 1975 Paris Biennale, Matta-Clark's <i>Conical Intersect<\/i> was a spiraling cone-shaped cut through a pair of 17th-century buildings at 27-29 rue Beaubourg. Slated for demolition as part of the \\"urban renewal\\" of the Les Halles district, the buildings were adjacent to the construction site of the controversial Centre Pompidou. Petitjean, who had been photographing the transformation of the neighborhood, records Matta-Clark's two-week process of cutting the large conical void in the buildings. In an interview at the site, Matta-Clark speaks (in French) about the idea of making a \\"son et lumiere,\\" and the void as a means of \\"understanding of all that's missing.\\"\",
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\"date_created\": \"2006-12-12T11:40:00-05:00\",
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\"title_id\": 11721,
\"slug\": \"reality-properties-fake-estates\",
\"title\": \"Reality Properties: Fake Estates\",
\"subtitle\": \"Queens Project\",
\"title_translation\": null,
\"alternate_title\": null,
\"completion_date\": \"1975\",
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\"running_time\": \"7 min\",
\"color\": \"b&w\",
\"sound\": \"sound\",
\"by_credit\": \"Jaime Davidovich\",
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\"image_url\": \"matta_queens_4.jpg\",
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\"short_desc\": \"Gordon Matta-Clark's Fake Estates project, which dates from 1973-74, addresses issues of property, ownership, and urban spaces. For this project, Matta-Clark purchased fifteen small, unusable odd lots — termed \\"gutterspaces\\" — that were being auctioned off by the city of New York. Although the artist collected extensive archival documents relating to the properties, his plans for using them were never realized; after his death the lots reverted to the city. This historical footage, shot by video artist and cable television pioneer Jaime Davidovich, documents Matta-Clark as he visits one of the sites in Queens.\",
\"long_desc\": \"<a href=\\"artists\/gordon-matta-clark\/biography\\">Gordon Matta-Clark<\/a>'s Fake Estates project, which dates from 1973-74, addresses issues of property, ownership, and urban spaces. For this project, Matta-Clark purchased fifteen small, unusable odd lots — termed \\"gutterspaces\\" — that were being auctioned off by the city of New York. Although the artist collected extensive archival documents relating to the properties, his plans for using them were never realized; after his death the lots reverted to the city. This recently rediscovered footage, shot by video artist and cable television pioneer Jaime Davidovich, documents Matta-Clark as he visits one of the sites in Queens.\r\n<p>\r\nWrites the Queens Museum: \\"In the early 1970s, Matta-Clark discovered that the City of New York periodically auctioned off 'gutterspace' — unusably small slivers of land sliced from the city grid through anomalies in surveying, zoning, and public-works expansion. He purchased fifteen of these lots, fourteen in Queens and one in Staten Island. Over the next years, he collected the maps, deeds, and other bureaucratic documentation attached to the slivers; photographed, spoke, and wrote about them; and considered using them as sites for his unique brand of \\"anarchitectural\\" intervention into urban space. Matta-Clark died in 1978 at the age of 35 without realizing his plans for Fake Estates, and ownership of the properties reverted to the city. The archival material that he had assembled went into storage and was not rediscovered until the early 1990s, when it was assembled into exhibitable collages. Thus, the Fake Estates have emerged not only as a mordant commentary on issues surrounding property, materiality, and disappearance that marked the whole of Matta-Clark's career, but as artifacts of his own estate, reminders of the powers of absence and presence that govern our relationship to the past.\\"<\/p>\",
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\"date_created\": \"2006-06-06T16:25:00-04:00\",
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\"date_modified\": \"2018-12-13T10:40:23-05:00\",
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\"short_bio\": \"Gordon Matta-Clark's thoroughly unique artistic project was a radical investigation of architecture, deconstruction, space, and urban environments. Dating from 1971 to 1977, his most prolific and vital period, his film and video works include documents of major pieces in New York, Paris and Antwerp, and are focused on three areas: performances and recycling pieces; space and texture works; and his building cuts.\",
\"long_bio\": \"EAI is pleased to announce that a selection of the films and videotapes of Gordon Matta-Clark is available on video. This extraordinary and rarely-seen body of material, which dates from 1971 to 1977 — Matta-Clark's most prolific and vital period — is a significant contribution to our understanding of the work of this singular artist. \r\n\r\nOrganized into eight programs, these sixteen film and video works include documents of many of Matta-Clark's major pieces, in sites including New York, Paris and Antwerp. Extending his investigations of architecture, deconstruction, space, and urban environments, these films and videotapes are focused on three areas: Matta-Clark's performances and recycling pieces; his space and texture works; and his building cuts. More than simple documentations of his often remarkable interventions, Matta-Clark's commentary on his works also provides a unique insight into his creative process.\r\n\r\nGordon Matta-Clark was born in New York in 1943 and died in 1978. He studied French literature at the Sorbonne and Architecture at Cornell University. From the early 1970s, as a founding member of the artist-run Food Restaurant in New York's SoHo neighborhood, Matta-Clark participated in numerous group exhibitions and projects. His work was presented in Documenta V, Kassel, Germany; and at exhibitions in Sao Paolo, Berlin, Zurich, and in the 9th Biennale de Paris. Major projects by Matta-Clark were staged in Aachen, Paris and Antwerp. \r\n\r\nFollowing his death, major retrospective exhibitions have been organized by the Museum of Contemporary Art, Chicago; Badischer Kunstverein, Karlsruhe, Germany; and IVAM Centro Julio Gonzalez, Valencia, Spain, among others. In 2007, the Whitney Museum of American Art, New York, honored him with a retrospective entitled \\"Gordon Matta-Clark: You Are the Measure.\\" In 2017 the Bronx Museum of the Arts presented \\"Gordon Matta-Clark: Anarchitect,\\" a major survey featuring more than one hundred works by the artist. \",
\"bibliography\": \"Lee, Pamela M. <u>Object to Be Destroyed: The Work of Gordon Matta-Clark.<\/u> Cambridge: MIT Press, 2000.\r\n<br><br>\r\nJacob, Mary Jane. <u> Gordon Matta-Clark: A Retrospective.<\/u> Chicago: Museum of Contemporary Art, 1985.\",
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\"notes\": \"For ARS images: \\"I believe that if they are just using the images for the promotion of the event on their website & program etc it doesn't need to be cleared through COVA-DAAV[\/ARS]. Ultimately it's our copyright and we are supporting the event - if they were to do a large print ad campaign or some kind of published material then I'd be happy to write ARS to give permission (US sister org for COVA-DAAV) but I don't think that's the case. So, as far as my understanding, it's not necessary.\\" - Jessamyn Fiore to JP (5\/30\/25)<p>\r\n\r\nWhere possible, the Matta-Clark Estate prefers that the titles originally shot on film be presented or exhibited as film. These requests can be forwarded to Jane Crawford and Bob Fiore (cc'ing Angela Choon from David Zwirner). A useful, general info email from Bob to a client - for internal purposes only - is cc'd here (10\/12\/09, RC)\r\n\r\n\\"We distribute these films and they are available: each film print (in 16mm, color, no sound) is available as an exhibition print for rental only. The fee for the rental for the duration of your exhibition is US$600 per film print, plus shipping, and the used prints must be returned to us at the end of your exhibition. They can be joined together for a loop projector, but there will be a splice at the join. The best method of joining the two prints is by HOT SPLICE, if you can find someone who knows how to do that. Otherwise, the other option is a TAPE SPLICE, which might catch in the projector and will eventually wear out. However, I can get both films printed on one piece of film stock if you give me three (3) months lead time, the preferred solution.:\r\n\r\n\r\nTapes should not be sold to private collectors or galleries, as per July 7, 2000 letter from Jane Crawford. Works originally shot on film are available, as editioned films, through David Zwirner Gallery. The edition for \\"Conical Intersect\\" is almost finished, per JC 10\/1\/06 \r\n<br><br>\r\nIn these cases, the <a href=artist_view.jsp?artistID=456>Estate<\/a> (Jane Crawford or Bob Fiore), Zwirner Gallery in NYC, or Galerie Franck & Schulte in Berlin should be contacted.\r\n<br><br>\r\n<i>Fresh Air Cart<\/i>: This is a tape of Matta-Clark?s that Marilys Downey feels is Juan?s; we don?t have a copy.\r\n<br><br>\r\nApril 2007: Q&A with Angela Choon of Zwirners on sale of films to institutions:\r\n<br><br>\r\nIf they are not able to, or do not want to exhibit on film, is it their choice? We prefer to have museums show the work on film, but its a case by case situation and we understand costs can be prohibitive. They should put request in writing to myself and jane and we can go from there. If they plan to exhibit on film, should they contact the gallery directly? yes\r\n\r\n Should we contact you whenever there is an non-standard inquiry of exhibition, or an inquiry from a collector? If so should we give them you direct email? Yes, please send email to me. \r\n\r\nWe usually notify Jane of exhibitions and non-educational screenings of the Matta-Clark tapes. Should we continue to do this, or should we notify you as well, or should we be forwarding this information to you only? You can just cc me on this, so I can make sure it?s added on the main bio. We keep the central archive, so that would be really helpful.\r\n\r\nIn short:\r\n\r\n1. Archival sales of Matta-Clark tapes will now have a rider in the license agreement saying that film exhibition is encouraged and that the gallery should be contacted to enact this.\r\n<br><br>\r\n2. For non-standard inquiries and inquiries from private collectors or commercial galleries, give them Angela Choon at Zwirners email address - below.\r\n<br><br>\r\n3. For notifications, email Jane Crawford and CC Angela Choon: \r\nAngela Choon <angela@davidzwirner.com>\r\n<br><br>\r\nThe estate is skeptical of exhibitions around themes of \\"destruction\\" and may not want Matta-Clark works included. Notify in advance for approval of these especially.\",
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\"credits\": \"Music: Peter Gordon. Assembly: Jane Crawford. Post Production: Alex Gunuay.\",
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Wall Text
Wall text displayed in EAI's viewing room at EFA gallery Gallery during the PERFORMA07 performance biennial.
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