Gordon Matta-Clark
1943–1978
Over the course of his brief, frenetic career, Gordon Matta-Clark produced works of art that reflect his belief in the power of transformation—that the world around us is not fixed or concrete, but brimming with untapped potential. Known best for his "building cuts," large-scale sculptural forms he achieved by cutting into existing architecture, Matta-Clark sought to create new understandings of a subject's relationship to space, and to question such seemingly established categories as ownership and intended use.
Collaborative Art: FOOD, Anarchitecture
Throughout the early 1970s, Matta-Clark's approach to artmaking became increasingly collaborative, as he embraced the porosity, changeability, and endless permissiveness of the boundaries between art and life. Most notably, he partnered with a group of fellow artists on FOOD, a fully functioning restaurant that opened in 1971 with communal seating and an open, stage-like kitchen that presented cookery as a kind of performance art.
Matta-Clark also made work at 112 Greene Street, the artist-run exhibition-cum-living space in Soho, and was a central collaborator in Anarchitecture, a collective whose work countered the period's prevailing modernist ethos by focusing on gaps, thresholds, and sites on the margins. To this group, the underground, the outskirts, the unnoticed, unwanted, and unseen were all ripe for transformation.
Art as Intervention: Day's End
A stone's throw from the Whitney's building in Manhattan's Meatpacking District, the nineteenth-century salt shed at Pier 52 provided the site for Matta-Clark's magnum opus of anarchitecure, Day's End (1975). Although officially abandoned, the Hudson River piers had become regular stomping grounds for members of the gay and S&M communities, who frequented the piers as a place for sex, sociality, and sunbathing.
After securing access to the shed (by the addition of his own padlock), Matta-Clark got to work, sawing through portions of the structure's floor and facade. Through a west-facing oculus, light from the setting sun entered; through a maw in the floor, the river surged into view. One day after the project's completion, city officials filled in the gaps in the floor and issued a warrant for Matta-Clark's arrest. But those who experienced the work in its brief moment of activation recall a spectacular scene—a chapel that glorified something much more than light and water.
Through his alchemical experiments, building cuts, films, photo collages, and other propositions, Gordon Matta-Clark helped redefine the limits of how art lives in the world, and of how we might live with it. Although the artist died prematurely in 1978, at the age of 35, his efforts to transform the knowable environment continue to influence artists working today. "We will have to work together," Matta-Clark wrote, "to unravel the unfound."Gordon Matta-Clark, copy of notebook with Automation House, Tree Dance, A W-Hole House, Anarchitecture. Canadian Centre for Architecture, Montreal, Quebec; gift of the Estate of Gordon Matta-Clark, GMCT1260.
59 works
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Circus 1 (Documentation of the action "Circus-Caribbean Orange" made in 1978 in Chicago, United States)
1978 -
Circus 2 (Documentation of the action "Circus-Caribbean Orange" made in 1978 in Chicago, United States)
1978 -
Circus 3 (Documentation of the action "Circus-Caribbean Orange" made in 1978 in Chicago, United States)
1978 -
Circus 4 (Documentation of the action "Circus-Caribbean Orange" made in 1978 in Chicago, United States)
1978 -
Circus 5 (Documentation of the action "Circus-Caribbean Orange" made in 1978 in Chicago, United States)
1978 -
Jacob's Ladder 1 (Documentation of the action made in 1977 for Documenta 6, Kassel, Germany)
1977 -
Jacob's Ladder 2 (Documentation of the action made in 1977 for Documenta 6, Kassel, Germany)
1977 -
Jacob's Ladder 3 (Documentation of the action made in 1977 for Documenta 6, Kassel, Germany)
1977 -
Office Baroque (Documentation of the action "Office Baroque" made in 1977 in Antwerp, Belgium)
1977 -
Office Baroque 2 (Documentation of the action "Office Baroque" made in 1977 in Antwerp, Belgium)
1977 -
Office Baroque, 3rd Floor (Documentation of the action "Office Baroque" made in 1977 in Antwerp, Belgium)
1977 -
Office Baroque, 4th Floor (Documentation of the action "Office Baroque" made in 1977 in Antwerp, Belgium)
1977 -
Office Baroque, 5th Floor looking down (Documentation of the action "Office Baroque" made in 1977 in Antwerp, Belgium)
1977 -
Office Baroque, Views of 2nd Floor and Removed Section (Documentation of the action "Office Baroque" made in 1977 in Antwerp, Belgium)
1977 -
Substrait (Underground Dailies)
1976 -
Conical Intersect
1975 -
Conical Intersect, Archival #260
1975 -
Conical Intersect 1 (Documentation of the action "Conical Intersect" made in 1975 in Paris, France)
1975, printed 1977 -
Conical Intersect 2 (Documentation of the action "Conical Intersect" made in 1975 in Paris, France)
1975, printed 1977 -
Conical Intersect 3 (Documentation of the action "Conical Intersect" made in 1975 in Paris, France)
1975, printed 1977 -
Conical Intersect 4 (Documentation of the action "Conical Intersect" made in 1975 in Paris, France)
1975, printed 1977 -
Conical Intersect 5 (Documentation of the action "Conical Intersect" made in 1975 in Paris, France)
1975, printed 1977 -
Conical Intersect 6 (Documentation of the action "Conical Intersect" made in 1975 in Paris, France)
1975, printed 1977 -
Days End Pier 52.1 (Documentation of the action "Day's End" made in 1975 in New York, United States)
1975, printed 1977 -
Days End Pier 52.2 (Documentation of the action "Day's End" made in 1975 in New York, United States)
1975, printed 1977 -
Days End Pier 52.3 (Documentation of the action "Day's End" made in 1975 in New York, United States)
1975, printed 1977 -
Splitting
1974 -
Bingo X Ninths
1974 -
1st Evo Morphose Diagram
1974 -
Untitled (Evo Morphose)
1974
59 works