The artist and musician Laurie Anderson, ostensibly reminiscing about her friend Gordon Matta-Clark’s style as a conversationalist, handily summarized his work as an artist: “He really liked fragments…. He was a deconstructionist; his approach was to pull things apart. And I think when you pull things apart you can really see what’s there.” Matta-Clark is the subject of an exhibition at the Whitney Museum of American Art (through June 3; the show then travels to the Los Angeles Museum of Contemporary Art). You’ll find lots of fragments there, sometimes in the bluntest, most literal way–for instance, pieces of walls and floors sliced out of their architectural contexts and quite simply standing there in all their raw vulnerability–but often pieced together into new and complex wholes. More important than the fragments, though, are the spaces left behind by their removal. Matta-Clark is the artist who is most famous for having carved a house in half from top to bottom so that the two halves split apart, opening a gap between them through which, if you’d been there to peek in, you could “really see what’s there.” Just as Robert Smithson, the subject of a fine recent retrospective that also appeared at… Read full this story
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