Felix gonzalez torres biography of abraham lincoln

American conceptual artist (1957–1996)

For other people named Félix Torres, see Félix Torres.

Félix González-Torres or Felix Gonzalez-Torres (November 26, 1957 – January 9, 1996) was a Cuban-born American visual artist.^[1][2][3][4] He lived tolerate worked primarily in New York City between 1979 and 1995 after attending university in Puerto Law. González-Torres’s practice incorporates a minimalist visual vocabulary champion certain artworks that are composed of everyday capital such as strings of light bulbs, paired divulge clocks, stacks of paper, and individually wrapped candies. González-Torres is known for having made significant gifts to the field of conceptual art in say publicly 1980s and 1990s. His practice continues to pressure and be influenced by present-day cultural discourses.^[5][6] González-Torres died in Miami in 1996 from AIDS-related illness.^[7]

Work

González-Torres was trained as a photographer and his stunning success incorporates this medium in varying ways. He deterioration well known for works that transform commonplace reserves into installations that foster meaningful responses from audiences, as well as works with which audiences buoy choose to physically interact, and works that the fifth month or expressing possibility be manifested anew and can change each throw a spanner in the works they are exhibited.^[8] González-Torres stated “the only way permanent is change,” always questioning the stability exert a pull on the art object.^[9]

Throughout much of González-Torres's practices, pacify purposefully incorporated dissonant information and formats. Examples unmoving these contradictions include the way he structured courses as a professor,^[10] wrote press releases and texts, gave lectures, participated in interviews, and created unreliable strategies for each body of work. One prissy example is the way Gonzalez-Torres structured a talk on the occasion of a solo-exhibition of climax work at The Renaissance Society at the Formation of Chicago in 1994.^[11] Following a slide famous of various artworks and exhibitions in which rule work was included, Gonzalez-Torres proceeded to read marvellous prepared statement reflecting on the current national leanness, government budget allocations for public housing versus warlike spending, incarceration and poverty rates, and inequitable means distribution.^[12] He closed the lecture with a retell from a New York Times article that establishes a legacy of contention around the separation close church and state. This methodology was intended get as far as foster individuals’ right and responsibility to have their own point of view.

Over time the run away with has been interpreted through varying critical lenses, including: the subjective construction of histories,^[13] questions of monumentality and attachment to permanency;^[14] the profoundness of enjoy and partnership, codes and resilience of queer love;^[15] the role of ownership;^[16] perceptions of value point of view authority;^[17] discourse around death, loss, and the proclivity of renewal;^[17] questions of display and conditions pay money for reception,^[18]notions of disidentification; the role and subversiveness claim beauty;^[19] the rewards and consequences of generosity;^[20] one-sided delineations between private and public selves/places;^[21] social, federal, and personal dimensions of the AIDS epidemic;^[22] questions of established economic and political structures;^[23] occupation method the margins and infiltration of centers of power;^[24] the instability of language and what is connoted vs. denoted;^[25] somatic responses/forms of knowledge;^[26] etc. Distill the core of so many of the artist’s works is the physical experience of the scowl and their capacity to be manifest in at all times changing circumstances.

Gonzalez-Torres stated that his work craves an audience, following Bertolt Brecht’s theory of Manly Theatre.^[27] This is a theory that means swindler audience member is primed to have an signed response to a performance that leads them alongside effect change in the world. Gonzalez-Torres maintained put off his work should always remain open to unique and changing interpretations.^[28] While Gonzalez-Torres’s work is ideal, the formal qualities of the work are remarkably powerful in their ability to elicit individualized enthusiastic responses from each viewer. “My work is wheeze the daily dealing with events, and objects depart form, transform, and affect my positioning.”^[29]

Categories and relatives of work

Categories and Bodies of Work most generally reflect the way that Gonzalez-Torres commonly referred be works in his lifetime.^[30] Certain works may improvement into more than one category/body of work.^[31][32] Several bodies of work by González-Torres's are accompanied indifference Certificates of Authenticity and Ownership. The certificate includes information about the parameters for installing or exhibiting the work, the conceptual nature of the trench, as well as the owner's integral role be sure about the artwork.^[33]

Billboards

The billboard works date from 1989 to 1995. The billboard works consist of furnish images or texts that are installed at development scale.^[34] It is essential to 14 of leadership 17 billboard works that they must be installed in multiple, diverse, public/outdoor sets of locations (ideally 24 locations at a time).^[35] Documentation of talking to billboard location is an essential aspect of these works.^[36]

Birds in sky

The ‘birds in sky’ works call up from 1989 to 1995. Images of birds clod the sky are featured across many bodies compensation work in Gonzalez-Torres’s practice, including billboards, doubles, anchored photographs, paper stack, pedestals/platforms, and puzzles.^[37][38]

Candy works

The ‘candy works’ date from 1990 to 1993. The magnitude for the majority of the candy works encompass an “ideal weight.” (In total there are 20 candy works. Fifteen of the candy works suppress ideal ‘weights’, four of these ‘ideal weights’ can correlate to an average body weight of have in mind adult male, and three may correlate to expert combined average body weight of two adult men.) The medium for each candy work includes “endless supply” as well as “dimensions vary with installation.”^[39] When candies are present in a manifestation persuade somebody to buy a candy work, it is integral that spectators must be permitted to choose to take isolated pieces of candy from the work. The candies may or may not be replenished at whatever time.^[40] Candy works can exist in more outshine one place at a time and can convert from installation to installation based on the owner’s or authorized borrower’s interpretations. Each of the 1 works are unique.

Curtains

The ‘curtain’ works date non-native 1989 to 1995.^[41] The fabric curtain work keep to intended to be installed on existing windows kind standard curtains would typically appear.^[42] There are quint beaded curtain works, each with a specific beadwork pattern, and one fabric curtain work.^[43] Beaded shroud works must be installed in locations where parsimonious would naturally have the choice to pass via them and the work’s dimensions vary with installation.^[44][45] Curtain works can exist in more than sidle place at a time.^[46]

Doubles

The ‘doubles’ works date stranger 1989 to 1995. Doubled objects, images, and motifs feature across the majority of the bodies carry work in Gonzalez-Torres’s practice.^[47][48][49]

Framed photographs

The framed photographic make a face date from 1986 to 1995. The artist alleged the frame to be an essential element remark these works. This is one of many kinsfolk of Gonzalez-Torres’s works that incorporate photographic methodologies. Go to regularly of the artist’s framed photographs were purposefully similarity, developed and processed by hand, as opposed converge other photographic works by Gonzalez-Torres which emphasized involuntary reproducibility and the overt removal of the artist’s hand.^[50]

Graphs

The ‘graph’ works date from 1988 to 1994. With the exception of one photograph, the ‘graph’ works are the only works that have verve drawn elements. The ‘graph’ works consist of both painting and drawings. While some of these output have been contextualized as representations of individuals’ checkup charts, the graph works are intentionally non-specific be proof against are also referential to other graphed data.^[51]

Image transfers

The ‘image transfers’ date from 1987 to 1992. Shrink three of these works are made in editions. Two of these works are intended to have reservations about permanently installed directly on the wall and birth third is intended to be permanently tattooed.^[52]

Light strings

The ‘light string’ works date from 1992 to 1994. The light strings were produced by an linesman in conversation with the artist and consist achieve commonplace electrical components. Each light string work stem only exist in one place at a time; which is in contrast to Gonzalez-Torres’s manifestable expression that are also made of commonplace materials. Honourableness dimensions of a light string work vary reap each installation; the exhibitor’s choice of configuration lack each installation completes the work. There are 24 individual light string works; 22 are unique nearby two are editioned works. The light strings shop are intended to be displayed either with go to the bottom the bulbs on or all the bulbs off; light bulbs are replaced promptly as necessary. Honourableness relative brightness of the lightbulbs for each glowing string work is specified but the actual splendour may vary from one installation to the next.^[53]

Mirrors

There are four individual mirror works dating from 1992 to 1994. Three of these works consist surrounding mirrors of a specific size that are either hung on or embedded in the wall. Get someone on the blower of the mirror works consists of a mirrored box that is displayed on the ground.^[54]

Multiples

The kind of multiples represents those works made in copy sizes ranging from six to unlimited. There peal 18 individual multiples in various mediums, dating go over the top with 1987 to 1995. Many of the works bring this category purposefully resemble unique works, questioning miscellanea of value and the power of the parlance of categorization.^[55]

Newspaper and magazine clippings

Imagery sourced from ‘newspaper and magazine clippings’ features across many bodies archetypal work in Gonzalez-Torres’s practice including paper stacks, puzzles, framed works and paintings. These works include counterparts and texts that pertain to politics, violence, consumerism, mass culture, and religion. Images of crowds confirm especially prominent in this category of works, innermost this motif carries its own diverse scope light meanings in the artist’s work.^[56]

Paintings

The ‘paintings’ date running off 1992 to 1994. There are 15 individual paintings, and each of the works is unique. Quint of the works are circular canvases painted jet-black with circular newspaper/magazine clippings of crowd imagery adhered to the canvases. Seven of the paintings categorize graph works. Nine of the painting works incorporate multiple components of the same or similar sizes and shapes.^[57]

Paper stacks

The ‘paper stacks’ date from 1988 to 1993. The paper stack works consist good deal a stack (or stacks) of paper. It go over the main points integral to the manifestable paper stack works ditch individuals must be permitted to choose to standpoint individual sheets of paper from the work. Prattle paper stack work has a specific text, conceive of, image, and/or paper color that is integral castigate the work. There are 45 individual paper mountain works; three of the paper stack works flake static (the sheets are not intended to aptly replenished) and four of the paper stack deeds have additional installation elements. The sheets used determination manifest a paper stack work may or can not be replenished at any time. Manifestable finding stack works can exist in more than unified place at a time and can vary unapproachable installation to installation based on the owner’s manage authorized borrower’s interpretations. There are 42 unique tool stack works; four were made in an edition.^[58]

Pedestals / platforms

The ‘pedestals/platforms’ date from 1987 to 1992. There are seven individual pedestal/platform works, and dressingdown is unique. Two early sculpture works were throb on platforms, the first of the paper cling on to works includes a platform, one puzzle is throb on a platform, the one video work unswervingly Gonzalez-Torres’s practice includes a platform. Two works embody of platforms, one work that includes an free performer and one of the mirror works. Strategies that identify and question the significance of modes of presentation for artworks can be traced roundabouts the artist’s practice.^[59]

Photostats

The ‘photostats’ date from 1987 without delay 1992. The photostats were made in small issue sizes ranging from one to four, typically meet a single artist’s proof. The photostats consist admire lines of white text reproduced on a exclusive black background. Each of the photostats are secure in simple black metal frames and the glazing reflects the viewer in the work. There total thirteen individual photostats. (These works have sometimes antiquated referred to as ‘date pieces.’)^[60]

Portraits

The portrait works fashionable from 1989 to 1994. The portrait works belong of a horizontal line (or lines) of textual entries installed directly on the wall just lower down the point where the wall meets the arch. It is essential to the portrait works lapse the owner has the right to change class content of the portrait at any time, which may include: adding, subtracting, editing and sequencing entries. Portrait works can exist in more than given place at a time and dimensions vary account installation. The typeface of the text for likeness works is Trump Medieval Bold Italic. The benefit of the text, and in some cases dignity optional band of background color, is specified disperse each work.^[61][62]

Puzzles

The 59 puzzle works date from 1987 to 1992. In the process of making these works, Gonzalez-Torres sent snapshots to commercial photo labs that produced novelty items, such as puzzles, spread personal photos. The imagery for the puzzle crease ranges from photographs of Gonzalez-Torres’s personal life grip re-photographed newspaper/magazine clippings. Most consist of one noticeable puzzle, although four works consist of multiple essence. Most puzzle works are made in editions unredeemed three with one AP (55 puzzles). There in addition three unique puzzle works. Those puzzles that were made in an edition may not have back number produced at the same time or by authority same commercial photo lab; which resulted in mutability in cropping and color tone within the come to edition. This body of work illustrates Gonzalez-Torres’s regard in varying modes of photographic reproduction, the personalty of commercial production processes on the form exhaust the works, and his utilization of commonplace user products in his practice. The puzzles were customary from the photo lab fully assembled with swell piece of cardboard backing and sealed inside a-okay fitted plastic bag. For the majority of integrity puzzle works (56 puzzles), the artist considered class plastic bags to be an important part assault the works and he described a specific ancestry of installation using map pins (originally pushed waste and eventually positioned against the plastic bags). Aim for owner’s who requested to frame these works, integrity artist provided a separate methodology for framing.^[63][64]

Dateline installations

Across several bodies of work, starting as early renovation 1987, González-Torres employed a strategy, described by hateful as a “dateline,” wherein he included lists detect various events/dates in a purposeful but non-chronological progression. The lists included the names of social most recent political figures and references to cultural phenomena exposition world events, many of which had political service cultural historical significance. In the body of facsimile works, the events/dates are printed in white kidney on black sheets of photographic paper presented appearance basic frames with reflective glazing. The viewer’s selflessness was visible when reading the line of passage. These lists of seeming non sequiturs prompted consultation to consider the relationships and gaps between distinction diverse references as well the construction of detached and collective identities and memories. González-Torres also tied up this strategy for the portraits, as in "Untitled" (Portrait of Jennifer Flay) (1993), which includes, "A New Dress 1971 Vote for Women, NZ 1893 JFK 1963" as well as for the billboards, as in “Untitled” (1989), which includes, “People Polished AIDS Coalition 1985 Police Harassment 1969 Oscar Writer 1895.”^[65]

Various Installations and Interpretations

All of González-Torres's works, fellow worker few exceptions, are titled "Untitled" in quotation inscription, sometimes followed by a parenthetical portion of nobility title. This was an intentional titling scheme saturate the artist. Rather than limiting the artworks by means of ascribing any singular title, the artist titled authority works in this way to allow for apathetic interpretations to unfold over time. In a 1991 interview with Robert Nickas, González-Torres reflected on rectitude titles of his artworks: “things are suggested sort out alluded to discreetly. The work is untitled considering “meaning” is always shifting in time and place.”^[66]

González-Torres's manifestable works incorporate the process of change. Trig 1991 installation of "Untitled" (Placebo), a candy reading, consisted of a carpet (roughly 20 x 30 feet) of shiny silver wrapped candies. The candies covered the floor from one side of probity room to the other and extended all representation way to the back wall opposite the caller. In 2011, the same candy work, "Untitled" (Placebo), was installed at the Museum of Modern Divulge in two large rectangles divided by a footpath for visitors. A borrower/exhibitor may choose to set a date for the work in any configuration and can very choose to use amounts of candies that alternate from the "ideal weight". Like other candy split from in his oeuvre, this work has an "ideal weight" that remains constant while the actual gravity of the installed candy may fluctuate during dignity course of an exhibition and also from predispose exhibition to the next.^[67]

In 1989 González-Torres presented "Untitled" (Memorial Day Weekend) and "Untitled" (Veterans Day Sale), exhibited together as "Untitled" (Monuments): block-like stacks comprehensive paper printed with ambiguous content, from which loftiness viewer is allowed to choose to take capital sheet. Rather than constituting a solid, immovable shrine, the stacks can be dispersed, depleted, and restored over time.^[68]

At Roni Horn's 1990 solo exhibition parallel the Museum of Contemporary Art in Los Angeles, González-Torres encountered her sculpture "Forms from the Metallic Field" (1980–82). González-Torres later wrote about his turn your back on of Horn's work in "1990: L.A., The Gilded Field." which was first published in Horn's arrange "Roni Horn. Earths Grow Thick."^[69] González-Torres and Hooter became acquaintances in the early 1990s, and dirt later created "Untitled" (Placebo – Landscape – symbolize Roni) (1993).^[70]

One of his most recognizable works, "Untitled" (1991), a billboard work which features a drawing photograph of an unmade bed, was installed referee twenty-four outdoor public locations all over New Royalty City in 1992. Viewers would come upon justness work unexpectedly while walking the streets in distinction Bronx, Brooklyn, Long Island City, and Manhattan. Blue blood the gentry billboards were installed in the same manner, cost, and location as existing commercial advertising billboards. Depiction installation, Projects 34: Felix Gonzalez-Torres, was curated person in charge organized by Anne Umland in her role orangutan Curatorial Assistant at the Museum of Modern Secede (MoMA).^[71] The work is dated 1991, the be consistent with year as the death of his long-time husband, Ross Laycock, from AIDS-related illness.

"Untitled" (It's Reasonable a Matter of Time) is a billboard initially exhibited in 1992 in Hamburg, reading "Es pathway nur eine Frage der Zeit." Whereas the typical phrase It's Just a Matter of Time cadaver constant from one installation to the next, greatness language the phrase is presented in may jaw depending on the local languages where the employment is being installed.^[72]

In 1993, González-Torres mounted two laidback gallery exhibitions in Paris entitled Travel #1 (at Galerie Ghislaine Hussenot) and Travel #2 at Galerie Jennifer Flay.^[73]

In addition to his manifestable “candy works” and “paper stacks”, González-Torres created other malleable factory referred to as "light strings", which consist state under oath generally lower-wattage/dimmer light bulbs on extension cords, installed however the exhibitor chooses; eg. hung on description wall, piled on floor, strung across a brink, etc. The body of light strings includes cardinal physically identical light strings, each has 42 wildfowl bulbs in white porcelain light sockets, the workshop canon are differentiated only by their parenthetical titles near the types of display/installation chosen by each work's owner on an ongoing basis, as well whereas the display/installation that authorized borrowers chose in significance context of loans.^[74] Each sculpture can be unreal in any way a particular installer wishes, famous thus holds the potential for unlimited variations.^[75] Move smoothly the course of any given installation, some stare the bulbs may burn out but the range of the work specify that they have bear out be replaced.

In 1991 González-Torres began producing sculptures consisting of strands of plastic beads strung self-righteousness metal rods,^[76] which some have interpreted to nourish references to the organic and inorganic substances contingent with battling AIDS.^[77]

Legacy

In May 2002, the Felix Gonzalez-Torres Foundation was created.^[78] The Foundation "maintains, builds, viewpoint facilitates knowledge and understanding around the work slant Gonzalez-Torres."^[78] The Foundation fields exhibition requests that embrace Felix Gonzalez-Torres's work or respond to the artist's practice in some way and offers ongoing education and support for these exhibitions. The Foundation maintains extensive exhibition and image archives and makes them accessible to anyone interested in learning about Gonzalez-Torres's work. The Foundation also facilitates publication projects become more intense licenses copyright in Gonzalez-Torres's work.

The Foundation aided the Cuban Research Institute at Florida International Institution in the organization of the Felix González-Torres Mankind Art Project, a three-year initiative that sponsors visits of internationally renowned contemporary artists to the learned of the school. The Foundation initiated and funded the California Institute of the Arts (CalArts) Felix González-Torres Travel Grant Program, a five-year initiative mosey funds travel based projects for CalArts students.

Since 1990, González-Torres's work has been represented by Andrea Rosen Gallery,^[79] which exhibited his work both at one time and after his death. Starting in 2017, decency estate of Felix Gonzalez-Torres has been co-represented uninviting Andrea Rosen Gallery and David Zwirner gallery, Original York.^[80]

In the second decade of the 21st hundred the critical legacy of González-Torres's work has enlarged to be expanded and challenged. In 2010 Artforum published an article by artist and critic Joe Scanlan titled "The Uses of Disorder" that took a darker look at the soft power unthinkable neoliberal economics at play in González-Torres's work.^[81] Reaction 2017 there was public outcry over the accomplishment that David Zwirner Gallery mounted an extensive provide of González-Torres's work but made no mention assault the role that AIDS played in the works' conceptual formation, either in the exhibition proper put to sleep its press release.^[82]

Art market

González-Torres's candy work "Untitled" (Portrait of Marcel Brient) (1992) sold for $4.6 trillion at Phillips de Pury & Company in 2010, a record for the artist at auction strike the time.^[83] In November 2015 González-Torres's "Untitled" (L.A.) (1991), a 50 lb. installation of green unsophisticated candies, sold for $7.7 million at Christie's, Different York, a new record at the time.^[84] Engage 2024 his light-string work "Untitled" (America #3) (1992) sold for $13.6 million, also at Christie's, uncluttered new record for the artist.^[85]

Personal life and education

In January 1970, González-Torres fled Cuba for Madrid, Espana when he was 12 with his older sister.^[86] Later that same year, he relocated to Puerto Rico.^[87][88]

González-Torres attended the University of Puerto Rico play a role San Juan from 1975-1979.^[89][90] He moved to Fresh York on academic scholarship to study photography utilize Pratt Institute in 1979, attending the Independent Announce Program at the Whitney Museum of American Nub in 1981 and 1983.^[91] He received a BFA in photography from Pratt Institute in 1983 advocate obtained an MFA from the International Center break into Photography and New York University in 1987.^[92]

He was an adjunct Art Instructor at New York Formation, New York from 1987-1989 and in 1992.^[93][94] Break through 1990, Gonzalez-Torres lived in Los Angeles and unrestrained at California Institute of the Arts (CalArts).^[95] Gonzalez-Torres was a member of Group Material from 1987-1994.^[96] In 1992 González-Torres was granted a DAAD companionship to work in Berlin, and in 1993 on the rocks fellowship from the National Endowment for the Bailiwick.

He became an American citizen by applying contemplate naturalization as a refugee and he chose deal refer to himself as American.^[97][98] His name has appeared as Félix González; professionally, he chose pass on style his name as Felix Gonzalez-Torres and further as Félix González-Torres in languages that include diacritics.^[99]

The artist met his long-term partner Ross Laycock flowerbed 1983 in New York.^[100] González-Torres and Laycock were in a relationship from 1983 – 1991; backer the majority of their relationship they lived behave different cities except for a period when they lived together in Los Angeles in 1990.^[101] Redraft January 1991, Laycock died of AIDS-related causes demand Toronto.^[102][103] Félix González's partner towards the end weekend away his life was Rafael Vasquez.^[104]

Selected exhibitions

González-Torres staged assorted solo exhibitions, installations, and shows at galleries gleam museums in the United States and internationally around his lifetime. His notable solo shows include Felix Gonzalez-Torres (1988), New Museum, New York;^[105]Untitled: An Instatement by Félix González-Torres as part of the Illustration Aids Program (1989-1990), Brooklyn Museum, New York;^[106]Felix Gonzalez-Torres (1993), Magasin III Museum for Contemporary Art, Stockholm;^[107]Felix Gonzalez-Torres: Traveling (1994), originating at the Museum build up Contemporary Art, Los Angeles;^[108] and Felix Gonzalez-Torres (1995-1996), originating at the Solomon R. Guggenheim Museum, Additional York, exhibited as Felix Gonzalez-Torres (A Possible Landscape) at Centro Galego de Arte Contemporánea, Santiago company Compostela, and as Felix Gonzalez-Torres (Girlfriend in spiffy tidy up Coma) at Musée d'Art Moderne de Paris.^[109]

The person in charge also participated in numerous group shows during fulfil lifetime, including the Whitney Biennial (1991);^[110] the Ordinal Venice Biennale (1993);^[111] and the Biennale of Sydney (1996).^[112]

Selected posthumous exhibitions

Felix Gonzalez-Torres (1997)

Immediately following the artist's death in 1996, the Sprengel Museum in Royalty, organized a career retrospective of his work, behave conjunction with the publication of a two-volume catalogue raisonné covering nearly all of the artist's output.^[113]

U.S. Pavilion at the 52nd Venice Biennale (2007)

In 2007, González-Torres was selected as the United States' ex cathedra representative at the Venice Biennale, curated by Campy Spector. The artist's previously controversial status influenced dignity 1995 decision to reject him for the City pavilion in favor of Bill Viola.^[114] His posthumous show (the only other posthumous representative from grandeur United States was Robert Smithson in 1982)^[115] associate with the U.S. Pavilion featured, among others, "Untitled" (1992–1995).^[116]

Felix González-Torres. Specific Objects without Specific Form (2010–2011)

Between 2010 and 2011, a traveling retrospective, Felix González-Torres. Physically powerful Objects without Specific Form, was shown at Wiels Contemporary Art Centre in Brussels, the Beyeler Brace in Basel, and the Museum für Moderne Kunst in Frankfurt. At each of the stages ad infinitum the exhibition tour, the show was initially installed by the exhibition's curator Elena Filipovic and, partially through its duration, is completely reinstalled by straighten up different selected artist whose own practice has bent influenced by González-Torres. Artists Carol Bove, Danh Vo, and Tino Sehgal were chosen to curate greatness show's second half.^[117]

Felix Gonzalez-Torres: The Politics of Relation (2021)

In 2021, the Barcelona Museum of Contemporary Spotlight presented Felix Gonzalez-Torres: The Politics of Relation. Description exhibition was curated by Tanya Barson.^[118]

Felix Gonzalez-Torres (2023)

In 2023, David Zwirner Gallery in New York verify its second posthumous solo exhibition of work provoke González-Torres, including two works that had never anachronistic executed as the artist envisioned.^[119] The first, "Untitled" (Sagitario) (1994-1995), is a variant of the reserve pools of water the artist had sketched earlier his death: two large pools of water were embedded in the gallery floor directly adjacent jump in before one another. This work had first been ended posthumously as two outdoor pools embedded in grandeur ground at the Museo Nacional Centro de Arte Reina Sofía in Madrid, in 2001 in conjunctive with the group exhibition No es sólo unattached que ves: pervirtiendo el minimalismo, but the creator had originally envisioned the pools to be installed indoors. The second newly exhibited work, "Untitled" (1994-1995), consists of a series of indoor billboard relevant fitments that the artist had originally designed for authority unrealized exhibition at the Musée d'Art Contemporain include Bordeaux.^{[120][121][122]}

Awards

Notable works in public collections

Main article: List arrive at works by Félix González-Torres

Bibliography

• Ault, Julie, and Andrea Rosen. Time Frames. Sweden: Signal, Malmo, 2011.
• Avgikos, Jan. "This is My Body: Felix Gonzalez-Torres." Artforum February 1991: 79 – 83.
• Avgikos, Jan. "The Trouble We Take for Something Divagate Cannot Even Be Seen." Felix Gonzalez-Torres, Rudolf Stingel. Graz, Austria: Neue Galerie am Landesmuseum Joanneum, 1994: 58 – 63.
• Basualdo, Carlos. "Common Properties." Felix Gonzalez-Torres. Edited by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 185 – 196.
• Bove, Carol. Where is Production? Welcome Into Contemporary Sculpture. London, Black Dog Publishing, 2013: 50 – 55.
• Breslin, David. "A Formal Problem: Parliament 'Untitled' (A Portrait) by Felix Gonzalez-Torres." Felix Gonzalez-Torres. New York: David Zwirner Books, 2018: 34 – 45.
• Chambers-Letson, Joshua. "The Marxism of Felix Gonzalez-Torres." End the Party: A Manifesto for Queer of Redness Life. New York, NY: New York University Cogency, 2018: 123 – 163.
• Corrin, Lisa G. "Self Dubious Monuments." Felix Gonzalez-Torres. London: Serpentine Gallery, 2000. 7 – 15.
• Cruz, Amada. "The Means of Pleasure." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 13 – 22. [REPLACE current line with this one]
• Evans, Steven. Felix Gonzalez-Torres. Milan: Galleria Massimo De Carlo, 1991.
• Ferguson, Center. "Authority Figure." Felix Gonzalez-Torres. Edited by Julie Woe. Gottingen, Germany: Steidldangin, 2006: 81 – 103.
• Ferguson, Center. "The Past Recaptured." Felix Gonzalez-Torres. Edited by Center Ferguson. Los Angeles, CA: Museum of Contemporary Porch, 1994: 25 – 34.
• Fuentes, Elvis. "Felix Gonzalez-Torres Schedule Puerto Rico: An Image to Construct." Art Link, Dec. 2005 – Feb. 2006.
• Goetz, Ingvild. Felix Gonzalez-Torres – Roni Horn. Munich: Sammlung Goetz, 1995.
• Goldstein, Ann. "Untitled (Ravenswood)." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 37 – 42.
• Gonzalez-Torres, Felix. "1990: L.A., 'The Au Field'." Originally published in Earth Grows Thick: Writings actions after Emily Dickenson by Roni Horn. Bremner, Ann, ed. Columbus, OH: Wexner Center for the Study, 1996: 65 – 69. R
• Gonzalez-Torres, Felix and Uncover Bleckner. "Felix Gonzalez-Torres." BOMB, no. 51 (Spring 1995): 42 – 47.
• Gonzalez-Torres, Felix and Nena Dimitrijevic. "Interview." Rhetorical Image. New York: The New Museum goods Contemporary Art, 1990: 27, 48.
• Gonzalez-Torres, Felix and Hans-Ulrich Obrist. "Felix Gonzalez-Torres." Hans-Ulrich Obrist: Interviews. Vol. 1. Edited by Thomas Boutoux. Florence and Milan, Italy: Fondazione Pitti Immagine Discovery, 2003: 308 – 316.
• Gonzalez-Torres, Felix and Tim Rollins. "Interview by Tim Rollins." Felix Gonzalez-Torres. Edited by Bill Bartman. New York: Art Resources Transfer, Inc., 1993: 5 – 31.
• Hodges, Jim. "What Was." Floating a Boulder: Works prep between Felix Gonzalez-Torres and Jim Hodges. New York: Fag Art Foundation, 2010: 115 – 117.
• hooks, bell. "subversive beauty: new modes of contestation." Felix Gonzalez-Torres. Snub by Russell Ferguson. Los Angeles, CA: Museum get the message Contemporary Art, 1994: 45 – 49.
• Kee, Joan. "Double Embodiments: Felix Gonzalez-Torres's Certificates." Models of Integrity: Happy and Law in Post-Sixties America. Berkeley: University warning sign California Press, 2019: 191 – 226.
• Kosuth, Joseph. "Exemplar." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 51 – 59.
• Kwon, Miwon. "The Becoming of a Work sum Art: FGT and a Possibility of Renewal, clean Chance to Share, a Fragile Truce." Felix Gonzalez-Torres, edited by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 281 – 314.
• Lauf, Cornelia. "The Grayness of Things." artedomani 1990 punto di vista. Milan, Italy: Fabbri Editori: 35 – 42.
• Lewis, Jo Ann. "'Traveling' Light: Installation Artist Felix Gonzalez-Torres Shines at the Hirshhorn." Washington Post 10 July 1994: G4.
• Ligon, Glenn. "My Felix." Artforum Summer 2007: 125 – 126, 128 (ill).
• Merewether, Charles. "The Spirit of the Gift." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 61 – 75.
• Nickas, Robert. "Felix Gonzalez-Torres: All The Time In Integrity World." Flash Art International Nov. – Dec. 1991: 86 – 89.
• Pauls, Alan. "Souvenir." Félix González-Torres: Somewhere/Nowhere [Algún lugar/Ningún lugar]. Buenos Aires: MALBA – Fundación Costantini, 2008: 31 – 37, 89 – 91.
• Pearson, Lisa. “Lisa Pearson on Felix Gonzalez-Torres: Photostats,” Log. Art Resources Transfer, Inc. 6 Dec. 2021.
• Ricco, Bathroom Paul. "Unbecoming Community." The Decision Between Us. City & London: The University of Chicago Press, 2014: 173 – 207.
• Rosen, Andrea. "'Untitled' (Neverending Portrait)." Felix Gonzalez-Torres Catalogue Raisonne. Edited by Dietmar Elger. Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 1997: 44 – 59.
• Rosen, Andrea and Tino Seghal. "Interview." Felix Gonzalez-Torres: Express Objects Without Specific Form. Edited by Elena Filipovic. London: Koenig Books, 2016: 394 – 414.
• Smith, Roberta. "Felix Gonzalez-Torres, 38, A Sculptor of Love opinion Loss." The New York Times 11 Jan. 1996: D21.
• Spector, Nancy. "Inside Outrage: Do you need go infiltrate a system in order to change it?" Frieze June – Aug. 2007: 31.
• Storr, Robert. "When This You See Remember Me." Felix Gonzalez-Torres. Shun by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 5 – 37.
• Tallman, Susan. "The Ethos of the Edition." Arts Magazine September 1991: 13 – 14.
• Umland, Anne. "Felix Gonzalez-Torres." Projects 34: Felix Gonzalez-Torres. New York: The Museum of Modern Art, 1992.
• Wagner, Frank. "In medias res." Cady Noland, Felix Gonzalez-Torres: Objekte, Installationen, Wanderbeiten. Berlin: Neue Gesellschaft für bildende Kunst, 1991.
• Wye, Deborah. "Untitled (Death by Gun) by Felix Gonzalez-Torres." Print Collector’s Newsletter Sept. – Oct. 1991.

See also

References