June 22, 1943|
|Died||August 27, 1978
|Influenced||Brian Jungen, Danny Devos|
Gordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s. He is famous for his "building cuts," a series of works in abandoned buildings in which he variously removed sections of floors, ceilings, and walls.
Life and work
Both of Gordon Matta-Clark's parents were artists: the American Anne Clark and the Chilean Surrealist painter Roberto Matta, artist of Basque, French and Spanish descent. His twin brother Sebastian was also an artist, who committed suicide in 1976.
He studied architecture at Cornell University, but did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture.”  At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.
Matta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his "building cuts."
Matta-Clark also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for society's values and a vehicle for ideology.
"AN ARK KIT PUNCTURE, ANARCHY TORTURE, AN ARCTIC LECTURE, AN ORCHID TEXTURE, AN ART COLLECTOR..."
In February, 1969, the "Earth Art" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in "Earth Art" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.
In the early 1970s as part of the Anarchitecture group, Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become "landed gentry" by owning property. Matta-Clark "buys" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot. Ironically, these "estates" were unusable or inaccessible for development, and so his ability to capitalize on the land, and thus his ownership of them, existed virtually only on paper.
In 1971 Matta-Clark cofounded Food, in SoHo, New York, with Carol Goodden, a restaurant managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the Philip Glass Ensemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.
For the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.
For his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely. Following his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.
Matta-Clark died from pancreatic cancer on August 27, 1978.
- Program One: Chinatown Voyeur (1971)
- Program Two (1971-1972)
- Program Three (1971-1975)
- Food (1972)
- Program Five (1972-1976)
- Program Four: Sauna View (1973)
- Program Six (1974-1976)
- Program Seven (1974-2005)
- The Wall (1976-2007)
- Program Eight: Office Baroque (1977-2005)
- Lee, Pamela M. (2001). Object to Be Destroyed: The Work of Gordon Matta-Clark. MIT Press. p. 3. ISBN 978-0-262-62156-4.
- artnet feature retrieved October 23, 2009
- William Hanley (April 11, 2007). Gordon Matta-Clark at the Whitney. ARTINFO. Retrieved 2008-04-21
- Steven Stern (September 2007). Gordon Matta-Clark. Frieze Magazine. Retrieved 2008-04-21
- "Bingo Ninths" (video). Retrieved 2008-10-27.
- "Bingo". Retrieved 2008-10-26.
- "Gordon Matta-Clark: You Are the Measure". Artdaily. 2008. Retrieved 2011-06-13.
- "History of the MCA". Museum of Contemporary Art, Chicago. Retrieved 2011-06-13.
- "Gordon Matta-Clark: You Are the Measure". Museum of Contemporary Art, Chicago. Retrieved 2011-06-13.
- "Gordon Matta-Clark: You Are the Measure". Press Release. Museum of Contemporary Art, Chicago. 2008-01-01. Retrieved 2011-06-13.
- Gordon Matta-Clark at the Museum of Modern Art
- Gordon Matta-Clark archive at the Canadian Centre for Architecture
- Gordon Matta-Clark at David Zwirner
- Selected Press at David Zwirner
- Artnet page
- EAI: Gordon Matta-Clark Biography and a list of video works by the artist.