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Gordon Matta-Clark: Drawing on Architecture Author(s): Stephen Walker Source: Grey Room, No. 18 (Winter, 2004), pp. 108-131 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/20442673 . Accessed: 15/07/2013 08:50
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Gordon Matta-Clark. Reality Properties: Fake Estates (Maspeth Onion), 1973. Collage: 4 black-and-white on photographs mounted separate board, deed, map. Dimensions variable. All photographs courtesy of the Estate of Gordon Matta-Clark and David Zwirner Gallery, New York; ? 2004 Artists Rights Society (ARS), New York, and DACS, London.
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. sured..28 on Mon.Gordon Matta-Clark:. However. traditionally epitomizes drawing is the abstract space that under this convention with associated as Henri Lefebvre the drawing of plans and sections. which of the sense the dominance also of ential space presuppose geometry concludes He relations. power sociopolitical in essence and par excel that "Abstract space is thus repressive in a particularly it is repressive thanks to its versatility ]ence-but are consequent a that traces series of reductive artful way. an architect's Intimately activity. Architectural Representation . certain and of vision.. I keep using it. writes architectural with to abstract conflate space pointed out. Matta-Clark2 -Gordon his interest in Matta-Clark expressed frequently and was that lay beyond objective measurement to be mea which could to that restrict critical of attempts experience as an at in the Cornell architect his 1960s. B ut I'm not quite sure what itmeans. first of nature's This content downloaded from 129. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . of Space Lefebvre discusses what he calls in addition to the refer the three "formants" of abstract space. repeatedly to as these draw as erroneous creative is priority attributing drawing work of architectural space."3He steps on the geometrical Euclidean a property reduction formant and that link its repressive versatility: (or homogeneity).. Drawing on Architecture STEPHEN WALKER Part 1: Design Drawings At the Drawing Board. [sic] Space Beginings -Gordon I don't know and Abstract Space Intimate Nation of Matta-Clark1 what the word "space" means. One enduring aspect of his The artist Gordon human experience of architectural involved his redeployment drawing: although use a of orthographic the convention of architects variety techniques... ings in the production in The Production Indeed. aMare Daesn't Work When aMeasurement .78. space is defined by its "isotropy" its social and political utility.139. subsequent oeuvre contested this in a variety of ways. The which guarantees to this homogeneous Euclidean space. Following training in the was with architecture's concerned he implication particularly artistic his and of this restrictive maintenance situation..
In so doing. irregularlyshaped plot between buildings. and economic systems identified by Lefebvre's abstract space8 works according to its own logic.New York City. InReality Properties: Fake EstatesMatta-Clark deployed the criteria and procedures of real estate agency to draw attention to this contingency."a blank sheet of paper. These issues can be explored initially by referring to one of Matta-Clark's early projects.139. or any kind of graphic representation or projection).4 The complicity of such graphic representation with the broader machinations of abstract space is rarely acknowledged by the disci pline of architecture."These were aberrations within the property system. the reduction of three-dimensional realities to two-dimensions (forexample.78. Matta-Clark's projects can demonstrate approaches to the production of space thatLefebvre's own theoreticalwork over looks.space. The real estate agent's literature-where the "lot. appears at the intersection of the bureaucratic. Each propertywas a small. a "plan. it denies other factors and claims that might be made regarding property or space. one might suggest that for estate agents space is defined by the definitions peddled by real estate agents. At auction some small pieces of land in Queens and Staten Island. to subvert the processes of real estate.which was developed to follow the economic system of exchange. Reality Properties: Fake Estates (1973). according to science. a map.6Beyond this coincidence. which had reverted to the owner ship of the City due to nonpayment of taxes by previous owners.28 on Mon. and to refute any claims in 1973 he bought itmight make to pro vide the definitive means of spatial representation. -Denis Hollier7 Pursuing Hollier's line of thinking. highlighting its contingency. allowing themarket to determine "value" on its own terms by narrowing the definition of space toward a specific understanding intended to further the exchangeability of property.All themore so since that initial reduction leads easily to another-namely. the definition ofmankind."exemplar of private property. has conferred a redoubtablepower upon it. legal.5 though the issues raised in Lefebvre's analysis are strikingly similar to the those identified byMatta-Clark. known as "curb property" or "gutterspace. By examining the relationship between theway space is repre that it pur sented in the literature of real estate and the properties status claimed doubt can be cast on the definitive ports to describe. forwhich Matta-Clark paid between 1 10 Grey Room l This content downloaded from 129. At the Estate Agent with Gordon Malta-Clark (Buying) Science is. for the description. something drawn on that paper. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . then of all social space.
" They were a group of fifteen micro-parcels of land inQueens. left over properties from an architect's draw ing. Relevant instances occur throughout Bataille's oeuvre.10 desire for an extended from the conventional conception of what is useful or necessary. he stressed the dis tinction between two possible approaches.. Everyone's notion of ownership is determined by the use factor. If you can just get away the issue. then. Evaluating what kinds of things need to be clarified in order to make the distinction between what ismade available in terms is needed for of usable space . He of .z} L in tO ~ u( ~ awer. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . pushing them to include qualities less easily determined by the market." noting that " [e]very time the meaning value of the word useful a discussion depends on the fundamental W?. and argued thatwhat was at stake in their difference was the quality of architectural experience: architectural politics reduces down to the issue of evaluation.. which an extended experience issue. that's one issue . In an interview Matta-Clark described how he was drawn to the auction by the description of the properties as "inaccessible...78. Buying them was my own take on the strangeness of existing property demarcation lines.9 Through his purchase Matta-Clark began to erode the definition to the "use factor" and began to reveal of space established according system.One or two of the prize ones were a foot [wide] strip down somebody's driveway and a square foot of sidewalk. He hoped to the gaps in the apparent logic of the exchange expand the notions usually allied to the "value" of space.. Discussing the issue of evaluation more broadly. who made similar observations and shared similarmotivations. There are so many different things not in the common interpretation of use that are necessities. needs that have no explicit and only determining factor. and what is an entirely of architecture . then. can you start probing to compare It is instructive Matta-Clark's experience of architecture with that of Georges Bataille.139. the description of them that always excited me themost was "inaccessible. When Ibought those properties at theNew York City Auction. Property is so all-pervasive. Perhaps the earliest is his 1933 essay "On the Notion of Expenditure" (La notion de depense).. . And the others were kerbstone and gutterspace thatwouldn't be seen and certainly not occupied.. ~ ~ gL? ~ lft t Wg A ACIntectur 11 1 This content downloaded from 129." and how this had led him to enter the market as a buyer in order to high light the contradiction within the parceled definition of space that both permitted and drove this system.$25 and $75 each. begins the essay with a section entitled "The Insufficiency of the Principle of Classical Utility.28 on Mon.
to a certain degree. to exist within for the assumed a deferred usefulness that underpins sale of the plots assumes the the notion that any real estate system of real estate and exchange: on the market must be usable. . "Each individual form escapes [the] com mon measure and is.it is possible to affirm that the debate is necessarily warped and that the fundamental question is eluded. which ignores a very real distinction between these "useless" plots and their "useful" neighbors.28 on Mon. and obeys the "economic principle of balanced accounts. The mechanics of this process stem from the representation of the properties on the architectural drawing of the city block plan. they remain useless. (See Reality Properties: Fake Estates (Maspeth Onion) ."913 Moreover. waste is produced by the system as thatwhich escapes the common measure. . the homogenizing system can be exposed as artificial.78. The project's initial target is the deferred the real estate market." In this way the fundamental value of the word useful is perverted from its proper address and becomes the criterion against which all human values aremeasured. arguing that the term served a social con ception that admits only production and conservation. yet according to the real estate market's own definitions of usefulness." Bataille notes.139. because instead of use "inaccessible" plots that fulness their uselessness is highlighted." In a way that anticipates Matta Clark and directly influenced Lefebvre.where the placing of each thing creates a deformity within the system due to that thing's loose fitwithin its category. he called into question the narrow definition of useful.12 That which falls outside such restricted economies of accumulation is often seen as waste by "homogenous" society.Reality Properties: Fake Estates operates in thisway. the normal dis tinctions pertaining between properties in different locations are 112 Grey Rooml18 This content downloaded from 129. turd or transcendent: "The heterogeneous world includes everything resulting from unproductive expenditure . amonster. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . in the establishment and maintenance of the norm. This notion is challenged by the "use value" Matta-Clark bought. though forBataille thiswaste could be low or high. what is considered as "waste" by any restricted system can be a product of the idealizing system itself. as a construct rather than as a definitive measure. and its claims to supremacy can be demonstrated to be reliant upon awider heterogeneity (which Bataille terms the General Economy) that it fails to account for. In a strange reversal of fortunes.14 Thus. is organized around a drive for accumulation. If this waste product is revealed fromwithin.""1 Bataille wanted to challenge this elusion and to highlight what he felt were the "real needs of society.) The logic of this representation is underpinned by a supposition that each plot will enjoy a deferred usefulness. everything rejected by homogenous society as waste or as superior transcendent value.
Out of the Box and into the Art Gallery gesture of the land purchase. Reality Properties: Fake Estates plays the spaces and processes of real estate at its own game. the partition of space indicated on such plans does not necessarily map the loca tion in an entirely logicalway. the limited physical size and awkward shape ofMatta-Clark's plots highlights their difference in kind to the properties that surround them:15their particular invisibility is a characteristic of (and guar anteed by) the drawing process rather than a consequence of their involvement in the cycles of decay and renovation undertaken by the city as awhole. These interstitial spaces are too small. as even purchase by adjacent landowners (following the logic of accumulation that the market implicitly espouses) would be short-circuited simply by their physical size.78.139. Matta-Clark became a buyer. externally produced as an interference pattern that resulted from viewing the same space through different lenses. its orientation. His investment oppor tunity came about as a result of the operations of partition under taken in the drawing of an architect's plans. but they are impossible to locate in situ without the plans.28 on Mon. its 'lens. not to make commercial gain from his "investment" but to demonstrate the mechanics of partition that define themarket.Many are beyond any kind of recuperation. However.irrelevant here. and too geometrically awkward to enter themarket on the grounds of usefulness. The omnipresent view assumed by the space of the architectural drawing is trumped by a space that is truly nowhere and everywhere the same:whether inQueens or in Manhattan these plots deny use-value. we can register such deformities on the architect's drawings. too inac cessible. demonstrated Lefebvre indirectly acknowledges that such internal irregularity could occur: "Abstract space is not homogeneous. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . though (Selling) it is not clear in what format the Matta-Clark intended Reality Properties: Fake Estates to exceed the dssae Oen rsatCaserk:raswsns ons Archite tur 113 This content downloaded from 129. it simply has homo Matta-Clark's subsequent geneity as its goal. and they remain "useless" regardless of loca tion. The New York City Authority chose to deny all this and put them up for sale following the usual conventions. The City Authority's move to reintroduce these plots into the prevailing system of exchange was effectively an attempt to cover up these monsters: Matta-Clark played along and thereby clearly their actual status as the internal waste of that system." for as has just been stressed. The particular mode of their invisibility complicates Yve-Alain Bois's general observation that "waste"within the property system remains "imperceptible until the point of no return has been reached. asMatta-Clark's gestures demonstrate. Recalling Bataille's observations about internal deformities occur ring as a consequence of the operations of categorization.'''16 work on Reality Properties: Fake Estates demonstrated a different kind of irregularity.
plot by plot through a juxta position of the architecturaldrawing of the city block plan. the title deed. once the documentation process was more complete."The implicationwas that thesewould establish a relationship with the third part of the work. and legal ownership fail to coincide completely with the plots themselves. In this version the project was (re)presented in frames. Photographic "evidence" (the camera never lies). as it is landlocked and impossible to photograph. and documentary (photographic) space are juxtaposed. appropriately reminiscent of Borges's tale "OfExactitude in Science. This juxtapositionof conflicting accounts upsets thepresuppositions 1 14 Grey ooml8 This content downloaded from 129. As a consequence. three purportedly definitive discourses are played off against one another. each mode "accounting for" the plot in a different language or according to the rules of a different economy. Architectural space. it becomes apparent that there are gaps between the parameters of the discourses that constitute each frame. and a documentary photograph of theplot. fourteen frames. thoughnone gains theupper hand."18 This state of affairswas precipitated byMatta-Clark's inability to pay the taxes due on his little property portfolio. The contents of the box indicate that his intentions for exhibiting the project had developed beyond the early proposals sketched out to Carlinsky. Following this failure to add up. and the projectwas prepared for exhibition. Some initial thoughts shared with the journalist Dan Carlinsky indicate that he proposed a gallery-based work involving written documentation and a full-size photographic work. the plot of land itself. and the tensions involved inmaking the project are thus reinforced by the inconsistencies highlighted by its (re)presentation.)19 Beyond the differences immediately apparent between media favored by each discourse. with the instructions "put them together however you want. (The fifteenth Estate has never been exhibited.28 on Mon. a local art collector. When the box was returned to the Estate of Gordon Matta-Clark after the deaths of both the artist and Fisher the suggestion that the pieces be assembled "however you want" was taken up. an inconsistency stemming from the differing interests held by each account. each plot received this same treat ment: fourteen plots. amore thoroughgoing disparity exists between the various modes of description brought togetherwithin each frame. Matta-Clark boxed up all the documents relating toReality Properties: Fake Estates and gave them toNorman Fisher. the project was not shown again during his lifetime. (SeeReality Propeities: Fake Estates [MaspethOnions]) Broadly. Robert Smithson. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . legal space.gesture was first exhibited. architectural (geometric) defini tion.78.17 Although an early version of the project was exhibited while the work was still in progress. though these still involved a combination of written and photographic work.139. in a way that echoes the Site/Non-site projects of his earlymentor.
. This project calls into question the illusory space of the drawing that predicates the system of real estate and reveals it as underwrit ten by "non-architecture... amove that denies the establishment of a single. .e rcIt tgtu r 11 5 This content downloaded from 129. Although Lefebvre follows Bataille and admits that useless expenditure can occur. left-over spaces. Instead. metaphoric in the sense that their interest or value wasn't in their possible use.28 on Mon.s qn. an issue that preoccupied Matta-Clark during much of his work. Drawing on a linguistic analogy in an interview. because of his own approach to economics: that he was. This self reflexivity demands a constructive reading that is based on a non commercial interactionbetween the spaces..of general equivalence that underwrite themovement of real estate.139.. grating some kind of established sequence of parts. places thatwere not developed .. he noted that this level of nonfunctionality was explored through a process like "jugglingwith syntax": Most of the things that I have done that have "architectural" implications are really about non-architecture . Matta Clark's project enacted many of Lefebvre's observations but also pointed toward other opportunities forbecoming involved with the city as oeuvre by revealing the contingency and overdetermination of its spaces.which reveals an economy of nonfunctional use-value. gaps.. and this was only barely covered oeuvre.. These did not register in Lefebvre's work.20 The (re)presentation of Reality Properties: Fake Estates can be understood to perform a similar juggling operation: the contingency of the syntax proper to each of the systems brought togetherwithin each frame is demonstrated by their lack of agreement about the spaces described. much over by the commodification of its spaces along property lines into Lefebvre hoped to demonstrate the possibility of exceeding 'lots.. his Production good Marxist of Space remains within a political economy.. the system of real estate is contested from outside.78. Lefebvre made a similar observation regarding the spaces of the city: "The city was an like the work of art. These spaces are prevented from assuming their usual associations and forced instead to acknowledge a new rela tionship that the (re)presentation sets up and which addresses the general (spatial) economy upon which each system is quietly reliant. anarchitec ture." According to Shields.. You mean you were interested level that was in these spaces so absurd on some non the functional level? Or on a functional as to ridicule It's like juggling with syntax or disinte idea of function.. as other claims to spatial definition arewitnessed alongside it. "correct" account. We were thinking aboutmetaphoric voids."''21 the commodification thatwas brought about by abstract spatializa tion to further certain vested interests of those in power. he WiYeN? nsM8tt ~aY e zZ ( 68W2tg9w. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions .
28 on Mon. it is important to rehearse certain aspects of spatial-representation techniques more thoroughly. highlighting the contradictions produced by the internal deformities or those presented by exceeding the particular logic of any system. For the framing process itself introduced another space and reminds us that this work will be "consumed" within the conven tional architectural space of the art gallery.does not admit this insight into the political economy grounding his discussion of abstract space. KEEPING ITAN ONGOING OPEN PROCESSNOT FINISHING JUSTKEEPINGGOINGAND STARTINGOVER &OVER.139. stabil ity.78. and originality that reassured the institution. despite Matta-Clark's suggestion that the various pieces of doc umentation from all the different plots could be put together and continuously rearranged however one wanted. Subsequent tacit agreement on the "correct"version grants thework the authority. the arrangement for the first posthumous exhibition of the project has been received as the defin itive version. where "value" remains geographical and tied to conventional urbanism. Before examining some of these projects in detail. precipitated by the action of one of itsmore influential players."24 The petrifaction of the project into its current framed-up arrange ment. were deployed and manipulated much more deliberately and radically both inMatta Clark's initial gestures that produced the dissections and in the sub sequent re-presentations he made. Matta-Clark's little project anticipates theworks forwhich he is better known. and the economics of abstract space that predicate these moments.Lefebvremakes a general criticism of representational techniques wherein " [t]heclaim 116 GreyRoom 18 This content downloaded from 129.22 But Reality Properties: Fake Estates demonstrates an equal affinity with Bataille's broader eco nomic analysis. which here succeed in suppressing Matta-Clark's anarchitectural intentions: "ANARCHITECTURE-WORKINGIN SEVERAL DIMENTIONS [sic] . The role tradition ally ascribed to architectural drawing. that the last laugh goes to the inexorable system of commodification. is due in part to the machinations of the art market. which returns and covers over Matta-Clark's own oeuvre of Reality Properties: Fake Estates.. theGuggenheim Museum.where frequently the only "value" that is not neutral-or indeed neutralized-is that of exchange value demanded by the artmarket itself. which pur chased one of theworks only to discover this ambiguity regarding its provenance and arrangement. then.23 In this sense Reality Properties: Fake Estates failed to escape the homoge nizing intentions of the economic space of capitalism. authenticity. with no further shuffling of the composition. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions .Against the inten tions of both the artist and his estate. It is paradoxical. its relationship to the possi bilities of experiencing (producing) space. the so-called building dissections. or perhaps appropriate..
78. -Gordon Matta-Clark.30 Henri Bergson's criticisms of Plato's model can help our exploration ofMatta-Clark's "forms without plans."25and he picks up this themewith specific reference to architectural representation: "Architectureoffers plenty of instances of procedures of this kind. Lefebvre warrant Just representation" that concerned as Lefebvre stressed there was no "innocent" space. ForPlato. the "relationship between cutting-up and examination. has already found its place in the order (and the disorder) of the connections we have been examining [in the production of space]. how one proceeded beyond the surface of a thing and negotiated this complex relationship between surface form-shape and form-idea was crucial. and he believed that themethod he established for this negotiation would guarantee the supremacy of his philosophy."26Lefebvre's worry is that for architects space is always already reduced to "architectural space. Anarchitecture 28 Matta-Clark's anarchitectural aphorism clearly attackedmodernism's assumption that architectural formwas a static principle of a build ing. on a building plot. the Clark's building dissections explore consequences of this sug gestion." Wa$k r i ordonM ttaCtark Aovirrwgzf<v-v^$2t?ctur 1 17 This content downloaded from 129.28 on Mon. in particular.. so the use of the term form is itself fraughtwith difficulties that stretch back at least to Plato. The role played by the conventions of the architectural image and.29 The importance of Plato's broad posi tion in the present context is thathis philosophical method provided themodel he recommended for "skillful" or "scientific practitioners" of artistic production. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . as it refers to space. There are forms without plans-Dynamic orders and disorders. This relationship between cutting-up and representation. a continuity that can be read in both in the production of images and the quiet relationship between cutting up and representation."which is the samewhether it is found on a drawing. both in the sense that this form was temporally prior to a building's existence and that itwas the location fromwhich authority Matta was issued and towhich judgmentwould have to be referred. Plato used theword eidos (e&oJ) for both the imperfect form of worldly things (form-as-shape apprehended by the human senses) and the unchanging ideal formworldly things referred to (form-idea comprehended by the intellect). Formswithout plans would upset the traditional priority of sta tic form.27 the tendency that Lefebvre observes can be tracedmuch furtherback into architecture's history. Interlude: Back to the Drawing Board Ifneeded we work todisprove the common belief that all startswith the plan... Although explicit architectural interest in "space" only emerged with the developments of modernism. or on a building.139.is that space can be shown by means of space itself.
32 expression and declaration of our inner conception and of that ForVasari. ismerely the work of carvers and masons." or the intellectual aspect of artistic production separated the task of the artist from the production of objects. which are nothing else than the beginning and the end of his art. . is called design [disegno]. . this threefold meaning. perhaps most famously and decisively in architecture. It denotes (1) the quality.33 The consequences are significant. we taken up by art and architectural relationship theory in away thathas established a strong link between "form.139.Within his theory the physical aspect of the artistic operation becomes a transparent term. can read a similar in Vasari's definition of disegno (itself a complex term signifying both drawing and design): Seeing that Design [disegno]. Architecture. Vasari's privileging of "disegno. Seeing too that from this in the mind that something which after knowledge there arises a certain conception and judgement.. draws out frommany single things a general judge ment. ideally an unobstructed con duit between idea and receiving intellect.78. that is to say. in order to accommodate his "simple cut or series of cuts [that]act as a powerful drawing device.. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . when expressed by the hands. at bottom." has. though his use of the term drawing demands amore expansive definition than usual. the parent of our three arts. and drawing.28 on Mon. Bergson links themeaning of Platonic eidos (8C6o. the design (in the sense of drawing) of the act supposed accomplished. (3) the end or design (in the sense of intention) of the act being performed.) directly to drawing: The word eC6o. are composed only of lines. Sculpture. he discussed the similarities and differences between a cut seen thing only and a cut deployed probe 1 18 GreY Rooml8 This content downloaded from 129. his drawing was frequently as a graphic the work of carver and mason: in an interview as an analytical with Liza Bear..31 Bergson's final clause is particularly relevant. where Vasari argued that "because its designs [disegno] so far as the architect is concerned. ." intellect. (2) the form or essence. most in what it compasses.Significantly. and Painting... which we translate here by "Idea. marvelous it is like a form or "idea" of all the objects in nature.. as it points to how the notion of eidos has been Indeed.all the rest . that design imagined [disegno] and given is not other than a visible form to in their idea."34 in his Matta-Clark often discussed the role that drawing played work. so that there is formed we may which conclude others have wards. disegno was the foundation or animating principle of all the fine arts. having its origin in the intellect. in fact."35 Although not strictly interchangeablewith the activity of cutting.
If they elude Gordon Matta-Clark. Bingo (1974) building on a the drawing superimposing grid lines" to demonstrate the "regulating On account of the idealist position.36 Indeed. his notion of drawing carries some of the intel lectual operations included inVasari's disegno (and Plato's eidos.38 process of disegno.78. Walker Gordon Matta-Clark: Drawing on Architecture 119 This content downloaded from 129. might be read as literalizing only to earlier models [of art history. to architectural (see graphic drawing produce of took Colin Rowe's method of a building's plan or facade formal com of that building's in the form that is implicated which itself follows these orthographic conventions. Lee has suggested cut of stable form" and that his "line. Splitting. these projects are comprehensible. which A W-Hole House: Datum Cut (1973) inscribed a datum. the mundane form from escaping because the cuts would prevent world. Color photograph. conventionally established as an abstract horizontal plane against of points can be established. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . if we recall Bergson's translation)while simultaneously exceeding the sphere of architectural activity thatVasari sanctioned.28 on Mon. presenting the in elevation). "drawing" deployed that Matta-Clark Pamela M. However. 1974. Working Drawings Part II: the On Building Site Several ofMatta-Clark's building dissection projects literally enacted objective. intellectual approaches to dividing the form-shape ofwhole buildings.139.and in this regard."37 Clark onto the building site. the consequence of shifting these objective analyses them to bear so tangibly out of the realm of the intellect by bringing fail to achieve on things would be that the forms attained clarity. the relative vertical position a cut used in ortho inscribed vertical conventionally (1974) Splitting section an image below. we can accompany Matta itly suggest. namely Vasari and Wolfflin] reveal the relative 'indeterminacy' of form that such theories implic With these issues inmind. whether toward "the undoing tenets of the the fundamental or drawn.
a visitor's experience of Splitting would change as theymoved around the dissected building. all ofwhich can be understood.Rather than their form eluding clarity. or in the intellect. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . in architectural disegno. For example. By lodging itself firmly in the stuff of theworld. These drawings give not one formbut sev eral. it demonstrates that "form" cannot be located: itmust substantially overflow any single location in thematerial object. Rather than being just the Matta-Clark criticized. the "ideal" section writ large in the fabric of the building. which would begin to call into question the tacit assumptions that architecture makes on our behalf and to counter any claims that the architecture might make toward attaining a "whole object" quality that can be understood once and for all.139. scientific clarity sought by idealism. where the visitor would have had to reconcile the different spatial accounts provided simul taneously by these differing systems. it refuses to give itself up totally to the objective. and which predicates the logic of orthographic drawing."39 this reductio is the alleged reduction or purification of form. Splitting demanded an operative viewing. Matta-Clark's building dissections disrupted easy access to defin itive form and thereby challenged the way in which they could 120 GreyRoom 18 This content downloaded from 129.28 on Mon. would have been interrupted by the physical presence of the cut.This move ment through the building. the idea of a cut What is challenged by as the functional construct that interestsme. available for consump "snapshot"work that tion from a single point of view. but none ofwhich are definitive: they refer neither to a static form-object nor to a form-idea but return the form of the actual building as a positive source of ambiguity. in plan and in section. Matta-Clark'sdrawing enacted something of a reductio ad absurdum on the principles of architectural form as these had developed since theRenaissance. antiformalist gesture but because they provided more form than ide alism could register. it is not because they have removed form in a dumb. his drawing deliberately attempted to carry over principles from the realm of the intellect aspects were and maintain important them in things. horizontally and vertically.78. Just as the (re)presentations of Reality Properties: Fake Estates demonstrated multiple claims to the same plot. stepping over the split as theymoved from room to room and from story to story. the repercussions ofMatta-Clark's cuttings were such that themodality of formal clarity had to expand in order to respond to the variety of forms that these projects revealed within the same building: form no longer bore the absolute truth but was now raised as a question.formal clarity. Drawing "it's as much thus became a property of the building and not just a generating principle: both toMatta-Clark. and rather than allowing the obser vation "from nowhere" that the privileged architectural system presumes.
but this is no longer of things that acted as the defining principle form is a provisional agreement between matter intellect).41 According to Lefebvre's well-known analysis. we said.by "view" or ratherby "moment. which is themean form above and below which the other forms are arranged as alterations of themean.)is instructive in this regard: We might. the intention of mental design which presides over the action being accom plished." it is polyvalent plays on this polyvalence. the form. His targetwas the reductive experience offered by the static form of modernism. space is a product of human place: takes activity. than thematerial design. finally. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . obscure clarity. which is amoment of becom ing.40 Bergson and Matta-Clark are expressly or implicitly critical. For this situation to remain beyond paradox requires that two kinds form stable of clarity. the essence. translate eC4o. Matta-Clark acknowledged the role played by polyvalence while dis tinguishing between two kinds of complexity available within the building dissections: Walker o Godon M ft aC rk0 Drwing on Arch?te ture 121 This content downloaded from 129. offers to articulate the repercussions of Matta-Clark explored.78. arguing that itmoves in the wrong direction (toward the eternal and immobile) from an improper starting point." For eC&oo. is the stable view taken of the instability of things: the quality. Bergson's revised translation. Matta-Clark's work demonstrates cutting that an alternating modality of form (as both eidoV and disegno) where it assumes form enjoy the static Bergson. a role as both an active destabilizing first draws and clarifying form" (for and principle. respectively. traced out and contemplated beforehand. and any subsequent reading of and the senses. to function. which provides for an intelligibility and instability. But it is also the setting where such activity and available to both the mind as with "form.42Matta-Clark's inscription of disegno into the stuff of building this "drawing"would similarly involve not only the intellect (and its exclusive liaison with the sense of vision) but other bodily senses (including nonoptical aspects of vision) and a durational aspect. Bergson's own reexamination of Platonic form (e8Co. draws on the alterations of this mean but which can form. though the consequences of his work were to alter the role that form plays in the establishment of meaning. referred to earlier as "ambiguity" now be more precisely as a formal clarity not available approached the domain of form that escapes reason but allows it to the intellect. which is amoment of evolution. and which is nothing else. The on the "mean for a stable "view" that permits intelligibility. The second. and perhaps we ought to.28 on Mon. of Plato's theory of forms.139. of the action accomplished.become intelligible.
to a kind of time and movement that it takes to experience the piece.. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . Brian O'Doherty discusses this relationship between "performance" 122 C ey Roorm 1 8 This content downloaded from 129. Photomontages Matta-Clark's attempts to develop amethod of representing the spa tial experience of the building dissections follow the underlying con cerns that led him to reformulate the process of disegno... is bathed in an atmosphere of spatiality.. which reveals .139. retranslating it. Yet what interests me more than the unexpected views thatwere being generated by removals is the element of stratification . and then beyond that towhat happens to people in the piece."44 Bergson suggests that the temptation to accept space as innocent and legible is deeply rooted in theKantian tradition and thoroughly upheld by modernism.. and he pursued this interest in his attempts to record the experience of the dissections using a variety ofmedia. He described various stages of evolution that culminated in a particular approach to photo-collage. they can arguably extend and complicate it. Sustaining themythical innocence of architectural space. and clarify."45 Matta-Clark's dissections did not set out to overcome this legibility but rather to supplement its reductive abstract spatiality with other readings."46 He used this technique to produce numerous collages of the kind reproduced in the image of Splitting (1974). .43 This approach to the experience of space that is not just visual.. moving from "snapshot documentation to a real preoccupation with this sort of documentation/time evolu tion of the piece .78. albeit anonymous situation and redefining it. All of this is present to sight. The results of these experiments in representation can not only be readback over.modernism in particular allied itself to a conception that ignored the covert and durational with a view in favor of spatial purity of space as innocent. the kind of kinesthetic experience available within the buildings. which comes in taking an otherwise completely normal. according towhich space was associated with legibility. There is another com plexity.Obviously themere cutting through from one space to another produces a certain complexity involving depth perception and viewpoint. into overlapping multiple readings of situations past and present. whereby "intelligence . and universality and that conse quently enjoyed "the illusion of transparency [that]goes hand in hand as free of traps or secret places. that involves different registers of complexity (echoing the two types of clarity noted earlier)-and indeed the notion that it can exceed issue with the purist demands of mod invariable measure-takes ernism. how a uniform surface gets established. covert and durational rather than overt and immediate.28 on Mon. .
78. the second involves the suggestion that the experience of the space itself already involves representational techniques akin to those of the photo-collages. It is an experience Gordon Matta-Clark." suggesting that the later. disegno-beyond its "proper" phase as animating principle of artistic production by inscribing directly within thematter of buildings. execution. where it is no longer possible. Matta-Clark clarified what he understood to be the differences between photographic representation and experience when he discussed how his photo-collages manipulated the relationships between them: I started capture out with an attempt to use multiple images to try and the "all-around" of the piece. and documentation. to discuss projects in terms of before.Moreover. where he observes that "avant-garde gestures have two audiences: one which was there and one-most of us-which wasn't. Is there any way inwhich his demand that "you have towalk"48 to experience the building dissections fully can be reconciled with a photo-collaged representation? There are (at least) two possible responses tomove this beyond paradox: the firstconcerns Matta-Clark's attempts to exceed the snapshot.and representation in his well-known essays on theWhite Cube.28 on Mon. Black-and-white photo-collage. nonpresent audience might actually be able to get more from re-presentations of the "original" artwork. during. ifwe recall that Matta-Clark sus tained the process of drawing-or. Despite O'Doherty's encouragement. more precisely. or at least no longer straightforward. Splitting. Matta-Clark's attempt to communicate the time andmovement involved in experiences of the dissections. and the consequent impact this had on visitors. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions ."47He con tests approaches that relegate any (photographic) image to being a pale substitute for "reality.139. and after. clearly raises questions. his photo-collages evidence another aspect of the complex temporal relationship between representation and experience which runs across much of Matta-Clark's oeuvre. approximation of this kind of ambulatory "getting-to-know" Walker IGordon Matta-Clark: Drawing on Architecture 123 This content downloaded from 129. or conception. 1974.
78. a progression of cuts. Basically through it is away in a number of passing of ways. such asmoving the head or using peripheral vision. ensure[s] in the formulation of a work." those incorporated aspects of vision that defy the clarity expected by themind's eye. a cut. to outdo a camera. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . frequently taking them as a compositional principle: they operate by establishing a coherent motif (a recogniz able perspectival or photographic space.. or occupant A montage has a constructive role of gaps and absences would not be shocking and then acceptable.49 Matta-Clark's interest in outdoing the camera was allied toways of passing through space other than by walking.. You know it's very easy to trick a camera.28 on Mon. any slight movement of the head would give us more information than the camera ever had. It also emphasizes theway in which the different modes of visual experience within the dissec tions operate to complement and contest the kinesthetic experience of the spaces (you might have had to walk."50 The awkwardness involved in associating imageswith kinesthetic experience has been explored by Yve-Alain Bois in an article on Richard Serra's sculpture. where "the sense of something miss that the viewer ing . but you also had to look). Beyond pro viding a number of viewpoints simultaneously. The photo-collages clearly give the viewer more information than a single photograph. the observer instills movement out of a desire to 124 Grey Room 18 This content downloaded from 129. The photo-collages address these other modes of passage. where he argues thatwhether a view is static or peripatetic. but. the space. they give more modes of visual experience.139. but remain unresolved. aswell as opening onto the familiarity of every day spaces... to be continually re-made by each user. inscribing both the clear account associated however erroneously with the snapshot and the obfusca tion of this clarity that stems from the various devices that "defy the camera. highlights a similarity between them and the operation of the building dissections themselves.more important. the arrangement of individually recognizable constituents with reference to an equally recognizable armature actively prevents their simple combination or reconciliation into a final whole. They are polyvalent and pull against one another. The remaining content of these constituent photographs clearly contest the coherence of this central armature.what the space is about. With the eye's peripheral field of vision. or [by] simple eye movements which defy the camera. One passes through one can pass through by just moving your head.. The suggestion that the photo-collages offer a polyvalence of visual experiences. JonathanHill has argued the benefits of considering the experience within buildings as amontage. and so on) according towhich the constituent photographs are arranged.
Bois suggests that this desire will always be frustrated. and any such suggestion must acknowledge that his is an art that is mindful of the workings of "decoupage and montage" (Lefebvre) already at play in the architectural or real estate spaces he worked with. Paradoxically. images fragment. The following quotation from Lefebvre rehearsesmany of his complaints regarding the complicity of images and architectural space. Clearly. Can images of this kind really be expected to expose errors concerning space? Hardly.51 by positing all of Serra's work as an art of montage. films. advertisements. the views available in the building dissections frequentlywould have had both whole and fragment available. significantly. Such a procedure known as uses and abuses a (also tautology) familiar that is indeed as easy to abuse as it is to technique use-namely. the image is more likely to secrete it and reinforce it than to reveal in a seg it. W rk Go Odn Wt Vs aVg one6g Achdtutre 1 25 This content downloaded from 129. on his reading of Serra at least.78. for example: photographs. it ends with a concession that on occasion this can be overcome.139. Part III:The Beginning and the End Decoupage andMontage In spite of the similarities that have been noted between certain aspects of Lefebvre's and Gordon Matta-Clark's points of view. However. However. the presence of montage runs differently for Matta-Clark. sig nificant disparities remain. but. they are themselves fragments of space. Lefebvre at length: The claim is that space can be shown by means of space itself. First. The issues ofmontaging do not disappear as a result. On the con trary.complete the object viewed. such images belong to an incriminated "medium. a shift from the part to the whole: metonymy. It is around such an assertion that we can return to the broad discussion ofMatta-Clark's work on architectural drawing. indeed itmay still be tempting to describe Matta-Clark's work in general as an art ofmontage by following Bois." Where the error consists mentation of space.No matter how "beautiful" theymay be. How is this so?We will take these warnings in turn. moreover-and where the illusion consists in the failure to perceive this dismemberment-there is simply no possibility of any image rectifying the mistake. Take images.28 on Mon. he achieves this status by doing almost everything that Lefebvre warns against. Where there is error or illusion. Matta Clark's work raises a number of similar concerns. because the experience of amoving observer cannot be reconciled with any a pri ori logic underlying the arrangement of Serra's sculpture: one cannot pass (to use terms introduced earlier) from form-moment to static Bois's analysis accommodates this frustrated reconciliation form. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . asmuch asMatta-Clark might be a figure for one of these occasions.
139. Something else altogethermay then emerge. they reside already in the artist's eye and gaze. to bricks and mortar. If this is true of images. and architectural." "Eye. Wherever there is illusion." and to its "proper" whole and thus force the part to take on a "FactoryChimney" operate by overdetermining the value of the part meaning beyond that of simply being a component within a defined system. as into the sets of objects that he selects. "Mouth. Error insinuates itself into the very objects that the artist discerns. More precisely. In this it is like all signs. active and passive.52 Matta-Clark's projects discussed above show space by means of space itself.28 on Mon. his projects show space by means of the incriminated metonymic techniques Lefebvre gestures toward. itmust apply equally well to sounds. the optical and visual world plays an integral and integrative. and indeed to signs in general. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . He rec ognized the folly of ignoring the extent towhich technical or scien tific methods had become a part of our lives. decoupage and montage-these are the alpha and omega of the art of image making. Exceeding the possibilities permitted by their respective wholes. they lie beyond any explanation that can be offered by 126 Grey Room 18 This content downloaded from 129. who despite an enduring interest in the heterogeneous was not in the business of denying the role of self referential discourses per se. After its fashion. It fetishizes abstraction and imposes it as the norm. As for error and illusion." "The Big Toe. and from bodies with their opacity and solidity. theirwarmth. By isolating parts of various bodies. His aim was rather to expose them as secondary and to subordinate themwithin a broader context. whether this involves his poker-faced adoption of real estate protocol or the enthusiastic application of disegno.moreover. readability and plas ticity. towords. It detaches the pure form from its impure con tent-from lived time. part in it. Occasionally. but in contrast to Lefebvre he determined to use these verymethods to highlight their dominance. in the drafts man's pencil and on his blank sheet of paper. a truth and a reality answering to criteria quite different from those of exactitude. clarity.Cutting things up and rearranging them. It is helpful at this point to return toBataille. their life and death. an artist's tenderness or cruelty trans gresses the limits of the image. in the photographer's lens. arguing that "it is possible to use [science] to limit its own movement and to situate beyond its own limits what it will never attain" and advocating attempts to subjugate science "through the use ofweapons borrowed from it. everyday time.78."53 In several essays Bataille exaggerated the quasi-scientific strategy of metonymy both human in relation to his own use. the image kills. however.
the apparent contradictions opened up byMatta Clark's technique cannot easily be overcome by a synthesizing return to "normal" experience: it is difficult to establish a clear-cut distinc tion between experience and representation. nomics his attempt to avoid this betrayal in his own integrated system ("unity theory") returns too frequently to a dialectical subli in Bataille's eco the dualism he aims at finds a better model than in his own. Similarly. Like "TheBig Toe. The general economy is the thorn in the side of-or.78. he nevertheless has corns on his feet. regardless of its apparent claim to the grandeur of rational human ity. is stopped inmid-flight by an atro cious pain in his big toe because. in the (re)presentations of Reality Properties: Fake Estates moments usually held apart are revealed together. Bataille's essay "TheBig Toe.139. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . Matta-Clark's building dissections and the (re)pre sentations of Reality Properties: Fake Estates operate and produce results similarly. which gives up its partial views to theultimate logic of coherence. The framework of architectural rules that the economy of thewhole-object usually hides away was presented to the few who visited the piece in the short time that it existed and to the viewer of the photo-collages made from the object. a given person. result ing both from the initial cutting and from subsequent photo-collaged re-presentations of theseworks.the anatomies or "definitive" discourses that they belong to yet set out to contest. and these feet independently lead an ignoble life. in this case." mation.54 Such forced awareness of simultaneous involvement in different economies also occurs inMatta-Clark's building dissections. Although Lefebvre argues that any such synthesis would "betray [the] truly dual nature [of space]. aswhen his glance ascends amonument testifying to the grandeur of his nation. ready to call to mind the grandeurs of human history.These other economies.56 Unlike Cubism. such as the paintings of analytic Cubism. illustrates how the iso lated part is involved in a variety of economies simultaneously." for example.Matta-Clark's projects demon strate that the object need not necessarily be considered "whole" to WaL er i ordon MattnC ark: rwing on Archde lure 127 This content downloaded from 129. are brought into stark relief by the stabbing pain they can provide.28 on Mon. Unlike other "fragmentary" images. Blind. a pain that can interrupt any attempt atwholeness made by the "definitive" anatomy involved. though the most noble of ani mals. the corn on the toe of-the 'restricted economy" of human nobility. but tranquil and strangely despising his obscure baseness." the cut of Splitting overturns theusual importance of the architectural "whole" by reveal ing that the parts thatmake it up belong to other economies besides that of architecture. in other words. he has feet. or the "general economy" towhich the toemight belong.
is unsettled. sustained and policed by the sys tem of abstract spatiality. a situation that appeals both to their reflective fac ulty (partial views to be synthesized) and to their body's scale and habit (Big Toe. and the pro duction of space is returned as a possible social oeuvre.28 on Mon. recognition that the authority of the system is self-imposed and self-installed would reveal its claims of total revelation to be illu sory. In contrast to the ease with which Lefebvre. Reality Properties: Fake Estates demonstrates that properties of these properties in the process.57 The experience inside one of Matta Clark's building dissections and an account of his more successful photo-collages can be discussed in strikingly similar terms. Although other systems real estate can also is partially lay claim reliant on the space of the archi to these locations. Architecture here is radically incomplete. The projected whole reconstituted by the intel lect runs alongside the habitual spaces inhabited. and indeed Vasari. By drawing attention to attempts at total reve lation.78. changing the tectural drawing."as theymight with traditional paint ing." is that viewers can no longer easily assume a single viewing position and remain "outside the frame. His approaches did not deny the particular usefulness of restricted economies such as architectural representation per se. spilling not just onto thework of carvers and masons but also inviting the involvement of those who use or enjoy the building." as theymight with architecture. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions .with a normal spatial situation being interrupted by other views or images The consequence that clearly contest the expectations of "normality. and the "drawing" of architecture (disegno) continues over and over. to acknowledge this relationship between human activity and the production of space was not only to acknowledge the general contingency of space in contrast tomod ernism's idealist version but also to address its inherently social and political dimensions. the beginning and the end of image making or disegno. etc. and redrawn by the body.139.). Matta-Clark's projects were not about collapse.begin with and that the possibility of a synthesized experience that returns to a "whole" is problematic. thus allowing for an experience neither foreclosed by one preestablished definition of space nor self-defeating in its complexity. with similar results. the passivity of traditional viewers. Matta-Clark carries on regardless. For Lefebvre as for Matta-Clark. The building dissec tionsmore actively applied architectural drawing techniques beyond their proper address. or "within the building. determine the alpha and omega. they revealed the existence of various contingent (spatial) readings. they are put not in more than one viewing position (Cubism) but rather are offered more than one mode of reception. drawn. Importantly. Instead. 128 GreyRoom 18 This content downloaded from 129. Within the spatial complexity that is real estate.
Pelletier. and on architectural writings to attract the topic continues Evans. Casanova. MIT Press). Articles and Documents by Judith 1942-76. and help. Betsy Wing 8. Spatial Dialectics 9. 5. 318. 1972).Notes are due to the British for their financial assistance. three Donald formants Nicholson are intro 1993). repr. 9 (May 1976): 74-79. in Gordon Matta-Clark. of such meanings not lie that the production might come and within but that they might from architecture. but because meanings only with conflict. to Jane Crawford. for 1. in Judith Russi Kirshner. (Cambridge: influenced Against that Matta-Clark 7. The Projective any what this Robin ambiguity. interview Art. are as old as the representation discipline attention. "Gordon Matta-Clark's of Walker 1Gordon Matta-Clark: Drawing on Architecture 129 This content downloaded from 129.. and discussed 285. Georges Bataille. by. Moaauromont and the Plan (c. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . with these the Perspective Hinge (Cambridge: MIT to neutrality claims made by or for a far more Cast explores two. However." Julio Gonzalez.78. 1978. ed. Clark: Splitting (The Humphrey Street 35. any mean that these their range. from in Estate this of Gordon which in Avalanche Building). in particular and hospitality. Blackwell on 285ff. and Donald 1927-1939. Gordon Museum Matta-Clark. Press. by Kirshner in Gordon Matta-Clark. of Contemporary "Interview with Gordon (Valencia: 3. Although the almost should exactly not be of Lefebvre's The Production original publication of Space coincided with Matta-Clark's Fake Estates. Matta-Clark. Henri IVAM Centro Lefebvre. 1999). Denis trans. Chicago. interview. Lefebvre. no. Casanova 394. Selections and Documents 1942-76. Love and Struggle: (London: Routledge. this Reality Properties: taken to suggest that there was any particular link between them or was work. (December 1974): and Matta-Clark: Articles Matta-Clark. Lovitt. Acknowledgments Academy which has supported into the work research of Gordon Matta-Clark. Stoekl." see Rob Shields. or even aware of. my archival to my colleague Peter Blundell comments the Jones for his many helpful during at the EA Generali of this text. late 1975-early Rough Draft 8. 2. Weston. "Gordon Matta Matta-Clark. representation relationship as equivocation is instructive in thinking through or architectural he denies architectural representations he suggests and objects ing." 375.139. 13 February Russi Kirshner. Gordon interview in Liza Bear. of Space 1991). (1974). Allan M. "On the Notion of Expenditure" (1933). 1997)?expresses architectural representation. Selected Leslie Writings. beyond 6. For an analysis of Lefebvre's of the "lot. 10. in Estate of Gordon CT. The trans. Jr. M. in this area?such Recent work The Projective Cast: Architecture and Its or Alberto P?rez-G?mez and Louise Three as the major of Robin contributions Geometries (Cambridge: MIT Architectural Representation a discomfort Of 1995). The Production Publishers. UK: cited Matta-Clark." Building 11. itself.28 on Mon. with appeared Arts Magazine 50. Interview between Wall 1976). might the architect that there might be more than one meaning. 4. Press. Gordon Matta-Clark. advice. Hollier (1974). subsequently the basis for an article Dissections. ed. Carl R. an introduction by Alan Stoekl (Minneapolis: University that first form edited by Matta-Clark. to the staff of the Arkiv/Studienraum preparation Foundation her limitless in Vienna. 177-78. Lefebvre's The Writings Architecture: Bataille of Georges 86. Evans not and ambiguous introduces because between and meaning. by Liza Bear. Matta-Clark's widow. discussion Lefebvre. heavily as Donald Wall. Smith duced (Oxford. were (c. in Visions of Excess: trans. ed.
1972. Arthur Mitchell (London: Macmillan to the Three to the Lives ed. Lefebvre. letter to author. 2002. an entropie which framed within economy. 24. 12." in Yve-Alain Bois & Rosalind Krauss. 35. 19 June 2002. Vasari. 22. (London: Thames 2000). Gordon Anarchitecture 25. 1960). 1. 13. 32. 15. 21.12. in Estate of Gordon Matta-Clark. interview Jane Crawford. 104. Gordon Matta-Clark. 130 Grey Room 18 This content downloaded from 129. Bataille but attempted didn't contest in original. in Bear." New widow. Excellent Painters. Hackforth's the same commentary to Plato. the first batch of the documented. 23. Phaedrus. See Adrian 142. 3 (Prelude) Timaeus. Stoekl. 4 (December may have suggested Matta-Clark the final exhibition (which never of Passaic. 74 ("The Nature and Publications. 332. interview. in Visions of Excess. 27. Shields. 1997). Phaedrus. emphasis a Field Rusha. c. For a clear exposition of Bataille's (London: Sage Publications. Desmond 1971) or Plato. Lee (Harmondsworth: trans. trans. "'Sliver' Carlinsky. Stoekl. Arts of of the Most trans. the importance a relative value or conservation of production per se to utility. ed. 29. A User's (New York Zone Books. ed. 334. two sheets of detail paper from Anarchitecture 28. of Expenditure.78. See R. Matta-Clark. 1218. Jane Crawford. Matta-Clark. ed. Jane Crawford. Yve-Alain of Nature" (1930). Casanova. no. by author. 2000). Sees. 1973. Words of Modern and Hudson. 277 B. intended took place).28 on Mon. "The Monuments correspon Crawford's an early version of 18. 33. XXI. 256. emphasis Bataille. repr. Dan Times. cat. Penguin. 1980). Prefixed and Architects (1550. untitled. Bois's operates in scale in this analysis most successfully is at large tiny between Matta-Clark's plots and the parking 16. c. no. "Zone. ch. Bataille economics. Timaeus. 19. "The Psychological Structure in original. 2. Creative Evolution.c. Real Estate sec. Lefebvre. 1568). Matta-Clark's to to add site tours or amap of directions similar 1967): to Smithson's 48-51.. in Gordon Matta-Clark. 74-75 were Materials of Design added with the second edition. though 7 January 2002. in Visions of Excess. June 7. arranged. Design. Plato. Sculpture. in Estate of Gordon Matta-Clark. 375-376. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . Georges esp. no adjustment for the jump scales but makes Guide 228. in his translation of Press. 287. 502. Bataille. New York: Dover or Drawing"). 20. 14. York Day at City Sales. Lefebvre." dence with in Artforum me. Period 96. 31. "The Deviations of Fascism" (1933). to "assign 116. Carol Goodden that Matta-Clark exhibited has confirmed at he had 112 the project. for example. Georges 55.Minnesota Press. University (Cambridge: Cambridge 30. Note card no. 26. Lefebvre. Formless: section Bois. 1952). properties comprising was Greene there is no record of how this documentation Street. 1911). Crawford. New York. sec. (1907. and Critias. 74. Louisa S. 28. and Co. Buyers Have 14 October 1973." "On the Notion Bataille. Maclehose and Painting. See Vasari. sec. Henri Bergson. 17. emphasis see Paul Hegarty. Period. Giorgio On Technique: Being the Introduction Architecture. and Buildings: A Vocabulary Architecture Forty." 129. lots photographed by Edward in original. 19. 2nd Sculptors sec. 142.139. See.
in Gordon Matta-Clark. 6. 1997). Gordon cat. 47. cat. Brian 393. 43. 15 Jul 2013 08:50:18 AM All use subject to JSTOR Terms and Conditions . Lefebvre. ed. Ltd. 2004). Georges 54. emphasis 35. 22. 96-97. and refers to those it assumes "A member has finished: shall faithfully carry out his process efficiency interests and loyalty of those who towards may be with his knowledge and experience applying or and mindful the client of employer. This domain 'snotion of form would Bataille approach an active to prevent that operates the domination principle matical" bear systems on Matta-Clark's directly a fuller discussion of Bataille see my Formless: "Animate Ways Form: of form. "Use of Design interview Cultureel 35. o? Informe of scientific Bataille or Formless. as more stains for or celestial (sun path Orange for Day's End Office Baroque ). 's Informe in the context of architectural production. forms as well mug of their the cut) explo (Cones. in Gordon interviewer). Lefebvre's 57. of the Gallery ed. 56. Matta-Clark. "Drawing ed. 49. 39." Breitwieser in Reorganizing Structure by Drawing (Vienna: Generali Foundation. On narrator. to Formlessness. Hill. Jonathan 46. Matta-Clark. In Formless work. Stoekl. in Bear. Bois and Krauss ed. Internationaal in Bear. Clara-Clara. (California: 1999)." John Shepley.78. ed. 46. 375. Matta-Clark." see Shields. (unknown Centrum. 1977). 42. added. Matta-Clark. Lefebvre.28 on Mon. in Kirshner. Although these building dissections in approach from similarity (borrowing not be taken to distinguish this should rations Conical contextual of cutting. The Code "The Pineal Eye" "The Big Toe" (c. in Kirshner. Pamela M. Stoekl. in original." Architecture's Troublesome in Claims of Form. 332. 8ff. 44.. between 28. generators were Circus: can be grouped together because to generate orthographic drawing them from Matta-Clark's broader generated Caribbean with Platonic ) . ed. 75. 50. Matta-Clark. emphasis Architect (London: Stroll around Black Dog Publishing. Lefebvre. added. Vasari. Lee. 45." expected Walke ordon MattClark: Drawing on Architecture 131 This content downloaded from 129. 40. of Excess. is thus a failure of The Production in of Space of Professional the architectural duties his One of the Royal Institute is from Principle of British Architects come along after Conduct (1997). 38. 1998). ed. emphases 41. 390. (Antwerp: 36. It. 29 (Summer 52. 53. inMatta-Clark. Through 28-29. 172: "Although he is a great project. exh. Bataille. Bataille. 1929). 355. much this aspect of Lefebvre's of the 485 pages own clause terms. Intersect Other . exh. 215. (1929). Casanova. Pat Cowley and Paul Hegarty (Oxford: Peter In and Out Lang. Casanova. dissections Spheres. sec. Yve-Alain October Bois. For and 224-231. of California Press.34. or "mathe 's Informe to bring see 180-191 In particular. Wall and Matta-Clark. 37. Inside the White Cube: The Ideology O'Doherty. being to use or enjoy the product of his work. Bergson. in Kirshner. Space. in Visions in Visions of Excess. 88. repr. Matta-Clark. Matta-Clark. Bergson. Interview 85.139. Lefebvre. 80-81. repr. Sabine in Between. 51. "A Picturesque 1984): 34. The Illegal 393. 3. University expanded 48. Georges 55. (or Drawing [disegno]) in the Various Arts". 375. trans.
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