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Gordon Matta-Clark (American, 1943-1978)

Conical Intersect, 1975

photograph, gelatin silver print, 26.99 cm x 39.69 cm

Conical Intersect —is a good example of the artist's literal "de-construction" of existing structures to reveal hidden or unexpected urban narratives. This work is a critical commentary on the transformation of a Parisian neighborhood as a new cultural center. Matta-Clark's painstaking perforation of a building about to be demolished is a sculptural and spatial statement, but it also provides a different way of looking at the city, a reminder that he studied architecture before turning to a full-time artistic practice.

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Gordon Matta-Clark (American, 1943 - 1978)

Conical Intersect , 1975 (printed 1977)

Silver dye bleach print / sheet: 101.9 x 76.2 cm

Solomon R. Guggenheim Museum, New York

Conical Intersect, Matta-Clark’s contribution to the Paris Biennale of 1975, manifested his critique of urban gentrification in the form of a radical incision through two adjacent 17th-century buildings designated for demolition near the much-contested Centre Georges Pompidou, which was then under construction. For this antimonument, or “nonument,” which contemplated the poetics of the civic ruin, Matta-Clark bored a tornado-shaped hole that spiraled back at a 45-degree angle to exit through the roof. Periscopelike, the void offered passersby a view of the buildings’ internal skeletons...

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Gordon Matta-Clark (American, 1943- 1978)

Splitting (detail), 1974

gelatin silver print, 50.8 cm x 40.64 cm

San Francisco Museum of Modern Art / www.sfmoma.org

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Gordon Matta-Clark (American, 1943- 1978)

Circus-The Caribbean Orange , 1978

Silver dye bleach print , 100.3 x 75.9 cm

The Museum of Modern Art / www.moma.org

Matta-Clark received formal training as an architect at Cornell University, where he studied with Colin Rowe, a preeminent theorist of architectural modernism. Yet Matta-Clark did not practice architecture, which he considered a pretentious enterprise; instead he devised "anarchitecture," an alternative use of buildings entailing a rejection of what he called "the functionalist aspect of past-due Machine Age moralists."