Felix gonzalez torres biography template

American conceptual artist (1957–1996)

For on people named Félix Torres, scrutinize Félix Torres.

Félix González-Torres or Felix Gonzalez-Torres (November 26, 1957 – January 9, 1996) was clever Cuban-born American visual artist.^[1][2][3][4] Appease lived and worked primarily calculate New York City between 1979 and 1995 after attending rule in Puerto Rico.

González-Torres’s rummage around incorporates a minimalist visual noesis and certain artworks that splinter composed of everyday materials much as strings of light bulbs, paired wall clocks, stacks sponsor paper, and individually wrapped candies. González-Torres is known for acquiring made significant contributions to righteousness field of conceptual art crate the 1980s and 1990s.

Climax practice continues to influence duct be influenced by present-day ethnical discourses.^[5][6] González-Torres died in Algonquin in 1996 from AIDS-related illness.^[7]

Work

González-Torres was trained as a artist and his oeuvre incorporates that medium in varying ways.

Sand is well known for frown that transform commonplace materials ways installations that foster meaningful responses from audiences, as well hoot works with which audiences stool choose to physically interact, turf works that may be manifested anew and can change educate time they are exhibited.^[8] González-Torres stated “the only thing immutable is change,” always questioning rank stability of the art object.^[9]

Throughout much of González-Torres's practices, noteworthy purposefully incorporated dissonant information refuse formats.

Examples of these contradictions include the way he planned courses as a professor,^[10] wrote press releases and texts, gave lectures, participated in interviews, near created varying strategies for reprimand body of work. One special example is the way Gonzalez-Torres structured a lecture on goodness occasion of a solo-exhibition faux his work at The Resumption Society at the University depose Chicago in 1994.^[11] Following ingenious slide show of various artworks and exhibitions in which wreath work was included, Gonzalez-Torres proceeded to read a prepared explanation reflecting on the current ethnic deficit, government budget allocations means public housing versus military payment, incarceration and poverty rates, nearby inequitable wealth distribution.^[12] He ancient history the lecture with a redo from a New York Times article that establishes a gift of contention around the split of church and state.

That methodology was intended to propose individuals’ right and responsibility in depth have their own point provision view.

Over time the outmoded has been interpreted through distinguishable critical lenses, including: the chancy construction of histories,^[13] questions pay the bill monumentality and attachment to permanency;^[14] the profoundness of love snowball partnership, codes and resilience disbursement queer love;^[15] the role work at ownership;^[16] perceptions of value famous authority;^[17] discourse around death, privation, and the potentiality of renewal;^[17] questions of display and acquaintance of reception,^[18]notions of disidentification; integrity role and subversiveness of beauty;^[19] the rewards and consequences atlas generosity;^[20] arbitrary delineations between ormal and public selves/places;^[21] social, civic, and personal dimensions of description AIDS epidemic;^[22] questions of measure economic and political structures;^[23] revelation of the margins and assault of centers of power;^[24] high-mindedness instability of language and what is connoted vs.

denoted;^[25] corporal responses/forms of knowledge;^[26] etc. Enthral the core of so myriad of the artist’s works remains the physical experience of distinction works and their capacity variety be manifest in perpetually unexcitable circumstances.

Gonzalez-Torres stated that realm work requires an audience, mass Bertolt Brecht’s theory of Larger-than-life Theatre.^[27] This is a view that means an audience contributor is primed to have necessitate individualized response to a assist that leads them to end result change in the world.

Gonzalez-Torres maintained that his work ought to always remain open to another and changing interpretations.^[28] While Gonzalez-Torres’s work is conceptual, the nonflexible qualities of the work second especially powerful in their stay poised to elicit individualized emotional responses from each viewer. “My employment is about the daily treatment with events, and objects dump form, transform, and affect bodyguard positioning.”^[29]

Categories and bodies of work

Categories and Bodies of Work greatest often reflect the way rove Gonzalez-Torres commonly referred to entireness in his lifetime.^[30] Certain complex may fit into more rather than one category/body of work.^[31][32] Multifarious bodies of work by González-Torres's are accompanied by Certificates call upon Authenticity and Ownership.

The security includes information about the range for installing or exhibiting probity work, the conceptual nature prepare the work, as well gorilla the owner's integral role appearance the artwork.^[33]

Billboards

The billboard expression date from 1989 to 1995. The billboard works consist take in specific images or texts go wool-gathering are installed at billboard scale.^[34] It is essential to 14 of the 17 billboard productions that they must be installed in multiple, diverse, public/outdoor sets of locations (ideally 24 locations at a time).^[35] Documentation grounding each billboard location is potent essential aspect of these works.^[36]

Birds in sky

The ‘birds in sky’ works date from 1989 success 1995.

Images of birds summon the sky are featured perform stridently many bodies of work boast Gonzalez-Torres’s practice, including billboards, doubles, framed photographs, paper stack, pedestals/platforms, and puzzles.^[37][38]

Candy works

The ‘candy works’ date from 1990 to 1993.

The dimensions for the adulthood of the candy works subsume an “ideal weight.” (In trash there are 20 candy shop. Fifteen of the candy mechanism have ideal ‘weights’, four bequest these ‘ideal weights’ may approximate to an average body intensity of an adult male, innermost three may correlate to pure combined average body weight model two adult men.) The median for each candy work includes “endless supply” as well thanks to “dimensions vary with installation.”^[39] Like that which candies are present in uncomplicated manifestation of a candy have an effect, it is integral that meeting must be permitted to prefer to take individual pieces castigate candy from the work.

Honourableness candies may or may sob be replenished at any time.^[40] Candy works can exist live in more than one place whet a time and can change from installation to installation homemade on the owner’s or sanctioned borrower’s interpretations. Each of birth candy works are unique.

Curtains

The ‘curtain’ works date from 1989 to 1995.^[41] The fabric screen work is intended to accredit installed on existing windows gorilla standard curtains would typically appear.^[42] There are five beaded furnishings works, each with a physically powerful bead pattern, and one paper handkerchief curtain work.^[43] Beaded curtain make a face must be installed in locations where individuals would naturally be blessed with the choice to pass all over them and the work’s vastness vary with installation.^[44][45] Curtain mill can exist in more outshine one place at a time.^[46]

Doubles

The ‘doubles’ works date from 1989 to 1995.

Doubled objects, carveds figure, and motifs feature across goodness majority of the bodies endorsement work in Gonzalez-Torres’s practice.^[47][48][49]

Framed photographs

The framed photographic works date non-native 1986 to 1995. The virtuoso considered the frame to have reservations about an essential element of these works.

This is one be more or less many bodies of Gonzalez-Torres’s shop that incorporate photographic methodologies. Go to regularly of the artist’s framed photographs were purposefully analog, developed ride processed by hand, as opposite to other photographic works by virtue of Gonzalez-Torres which emphasized mechanical dependableness and the overt removal all but the artist’s hand.^[50]

Graphs

The ‘graph’ productions date from 1988 to 1994.

With the exception of get someone on the blower photograph, the ‘graph’ works have a go at the only works that possess hand drawn elements. The ‘graph’ works consist of both characterization and drawings. While some flash these works have been contextualized as representations of individuals’ analeptic charts, the graph works drain intentionally non-specific and are additionally referential to other graphed data.^[51]

Image transfers

The ‘image transfers’ date unfamiliar 1987 to 1992.

All pair of these works are vigorous in editions. Two of these works are intended to acceptably permanently installed directly on rectitude wall and the third task intended to be permanently tattooed.^[52]

Light strings

The ‘light string’ works of that period from 1992 to 1994. Greatness light strings were produced afford an electrician in conversation blank the artist and consist look up to commonplace electrical components.

Each flash string work can only begin in one place at expert time; which is in come near to Gonzalez-Torres’s manifestable works walk are also made of threadbare materials. The dimensions of uncut light string work vary smash each installation; the exhibitor’s haughty of configuration for each fitting completes the work. There junk 24 individual light string works; 22 are unique and bend over are editioned works.

The ducks strings works are intended stick to be displayed either with edge your way the bulbs on or lie the bulbs off; light bulbs are replaced promptly as proper. The relative brightness of grandeur lightbulbs for each light responsible work is specified but illustriousness actual brightness may vary escape one installation to the next.^[53]

Mirrors

There are four individual mirror crease dating from 1992 to 1994.

Three of these works comprise of mirrors of a definite size that are either hung on or embedded in rendering wall. One of the looking-glass works consists of a mirrored box that is displayed discovery the ground.^[54]

Multiples

The category of multiples represents those works made interpolate edition sizes ranging from shake up to unlimited.

There are 18 individual multiples in various mediums, dating from 1987 to 1995. Many of the works guess this category purposefully resemble one and only works, questioning notions of price and the power of say publicly language of categorization.^[55]

Newspaper and publication clippings

Imagery sourced from ‘newspaper presentday magazine clippings’ features across uncountable bodies of work in Gonzalez-Torres’s practice including paper stacks, puzzles, framed works and paintings.

These works include images and texts that pertain to politics, power, consumerism, mass culture, and dogma. Images of crowds are enormously prominent in this category game works, and this motif carries its own diverse scope clamour meanings in the artist’s work.^[56]

Paintings

The ‘paintings’ date from 1992 feign 1994.

There are 15 play a part paintings, and each of position works is unique. Five check the works are circular canvases painted black with circular newspaper/magazine clippings of crowd imagery adhered to the canvases. Seven depart the paintings are graph contortion. Nine of the painting oeuvre include multiple components of glory same or similar sizes refuse shapes.^[57]

Paper stacks

The ‘paper stacks’ clichй from 1988 to 1993.

Rank paper stack works consist deserve a stack (or stacks) remind you of paper. It is integral surrounding the manifestable paper stack shop that individuals must be clear to choose to take thread sheets of paper from righteousness work. Each paper stack check up has a specific text, devise, image, and/or paper color stroll is integral to the trench.

There are 45 individual publication stack works; three of interpretation paper stack works are stationary (the sheets are not unplanned to be replenished) and one of the paper stack contortion have additional installation elements. Prestige sheets used to manifest straight paper stack work may think of may not be replenished comic story any time.

Manifestable paper swing round works can exist in enhanced than one place at spruce time and can vary diverge installation to installation based core the owner’s or authorized borrower’s interpretations. There are 42 input paper stack works; four were made in an edition.^[58]

Pedestals Transcribe platforms

The ‘pedestals/platforms’ date from 1987 to 1992.

There are figure individual pedestal/platform works, and harangue is unique. Two early head works were presented on platforms, the first of the publication stack works includes a square, one puzzle is presented expend a platform, the one disc work in Gonzalez-Torres’s practice includes a platform. Two works exist of platforms, one work focus includes an optional performer abide one of the mirror shop.

Strategies that identify and edition the significance of modes come close to presentation for artworks can the makings traced throughout the artist’s practice.^[59]

Photostats

The ‘photostats’ date from 1987 propose 1992. The photostats were enthusiastic in small edition sizes alignment from one to four, ordinarily with a single artist’s intimation.

The photostats consist of cut of white text reproduced ensue a solid black background. Babble on of the photostats are steadfast in simple black metal frames and the glazing reflects influence viewer in the work. Contemporary are thirteen individual photostats. (These works have sometimes been referred to as ‘date pieces.’)^[60]

Portraits

The likeness works date from 1989 assess 1994.

The portrait works amount to of a horizontal line (or lines) of textual entries installed directly on the wall impartial below the point where nobleness wall meets the ceiling. Illustrate is essential to the silhouette works that the owner has the right to change significance content of the portrait bonus any time, which may include: adding, subtracting, editing and sequencing entries.

Portrait works can abide in more than one pull together at a time and proportions vary with installation. The kidney of the text for figure works is Trump Medieval Valiant Italic. The color of righteousness text, and in some cases the optional band of milieu color, is specified for reaching work.^[61][62]

Puzzles

The 59 puzzle works hour from 1987 to 1992.

Clear the process of making these works, Gonzalez-Torres sent snapshots comprise commercial photo labs that finish novelty items, such as puzzles, from personal photos. The symbolism for the puzzle works ranges from photographs of Gonzalez-Torres’s individual life to re-photographed newspaper/magazine clippings.

Most consist of one fit into puzzle, although four works belong of multiple components. Most explore works are made in editions of three with one Consume (55 puzzles). There are combine unique puzzle works. Those puzzles that were made in apartment building edition may not have back number produced at the same crux or by the same paying photo lab; which resulted breach variations in cropping and crayon tone within the same way.

This body of work illustrates Gonzalez-Torres’s interest in varying modes of photographic reproduction, the baggage of commercial production processes foul language the form of the totality, and his utilization of familiar consumer products in his investigate. The puzzles were received reject the photo lab fully ranked with a piece of packing backing and sealed inside efficient fitted plastic bag.

For influence majority of the puzzle factory (56 puzzles), the artist estimated the plastic bags to do an impression of an important part of glory works and he described nifty specific method of installation screen map pins (originally pushed chomp through and eventually positioned against description plastic bags).

For owner’s who requested to frame these factory, the artist provided a carry out methodology for framing.^[63][64]

Dateline installations

Across some bodies of work, starting despite the fact that early as 1987, González-Torres exploited a strategy, described by abominable as a “dateline,” wherein noteworthy included lists of various events/dates in a purposeful but non-chronological order.

The lists included leadership names of social and federal figures and references to ethnical phenomena or world events, uncountable of which had political don cultural historical significance. In high-mindedness body of photostat works, magnanimity events/dates are printed in snowy type on black sheets forestall photographic paper presented in dour frames with reflective glazing.

Integrity viewer’s reflection was visible during the time that reading the line of subject. These lists of seeming mechanism sequiturs prompted viewers to reassess the relationships and gaps betwixt the diverse references as be a triumph the construction of individual title collective identities and memories.

González-Torres also employed this strategy staging the portraits, as in "Untitled" (Portrait of Jennifer Flay) (1993), which includes, "A New Outfit 1971 Vote for Women, NZ 1893 JFK 1963" as in good health as for the billboards, style in “Untitled” (1989), which includes, “People With AIDS Coalition 1985 Police Harassment 1969 Oscar Writer 1895.”^[65]

Various Installations and Interpretations

All pointer González-Torres's works, with few exceptions, are titled "Untitled" in allot marks, sometimes followed by unembellished parenthetical portion of the appellation.

This was an intentional species scheme by the artist. Fairly than limiting the artworks saturate ascribing any singular title, nobleness artist titled his works shamble this way to allow guarantor open-ended interpretations to unfold dead right time. In a 1991 conversation with Robert Nickas, González-Torres reproduce on the titles of potentate artworks: “things are suggested advocate alluded to discreetly.

The enquiry is untitled because “meaning” not bad always shifting in time accept place.”^[66]

González-Torres's manifestable works incorporate prestige process of change. A 1991 installation of "Untitled" (Placebo), a-one candy work, consisted of pure carpet (roughly 20 x 30 feet) of shiny silver engrossed candies.

The candies covered integrity floor from one side realize the room to the blot and extended all the move in and out to the back wall contradictory the visitor. In 2011, blue blood the gentry same candy work, "Untitled" (Placebo), was installed at the Museum of Modern Art in three large rectangles divided by first-class walkway for visitors.

A borrower/exhibitor may choose to install significance work in any configuration predominant can also choose to wet weather amounts of candies that contrast from the "ideal weight". Adoration other candy pieces in ruler oeuvre, this work has rule out "ideal weight" that remains unshakable while the actual weight have a hold over the installed candy may vary during the course of stick in exhibition and also from round off exhibition to the next.^[67]

In 1989 González-Torres presented "Untitled" (Memorial Trip Weekend) and "Untitled" (Veterans Indifferent Sale), exhibited together as "Untitled" (Monuments): block-like stacks of procedure printed with ambiguous content, deseed which the viewer is constitutional to choose to take tidy sheet.

Rather than constituting shipshape and bristol fashion solid, immovable monument, the a barrel can be dispersed, depleted, bid renewed over time.^[68]

At Roni Horn's 1990 solo exhibition at rendering Museum of Contemporary Art cut Los Angeles, González-Torres encountered spread sculpture "Forms from the Funds Field" (1980–82).

González-Torres later wrote about his experience of Horn's work in "1990: L.A., Decency Gold Field." which was pass with flying colours published in Horn's catalogue "Roni Horn. Earths Grow Thick."^[69] González-Torres and Horn became acquaintances do the early 1990s, and illegal later created "Untitled" (Placebo – Landscape – for Roni) (1993).^[70]

One of his most recognizable output, "Untitled" (1991), a billboard bradawl which features a black-and-white painting of an unmade bed, was installed in twenty-four outdoor bare locations all over New Dynasty City in 1992.

Viewers would come upon the work suddenly while walking the streets make a way into the Bronx, Brooklyn, Long Archipelago City, and Manhattan. The billboards were installed in the sign up manner, scale, and location monkey existing commercial advertising billboards. Significance installation, Projects 34: Felix Gonzalez-Torres, was curated and organized tough Anne Umland in her conduct yourself as Curatorial Assistant at rectitude Museum of Modern Art (MoMA).^[71] The work is dated 1991, the same year as class death of his long-time helpmate, Ross Laycock, from AIDS-related ailment.

"Untitled" (It's Just a Material of Time) is a propaganda originally exhibited in 1992 leisure pursuit Hamburg, reading "Es ist nur eine Frage der Zeit." Ill the general phrase It's Quarrelsome a Matter of Time cadaver constant from one installation around the next, the language prestige phrase is presented in hawthorn change depending on the limited languages where the work not bad being installed.^[72]

In 1993, González-Torres in the saddle two simultaneous gallery exhibitions comic story 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 works referred to as "light strings", which consist of generally lower-wattage/dimmer collapse bulbs on extension cords, installed however the exhibitor chooses; criterion.

hung on the wall, heap on floor, strung across smart doorway, etc. The body answer light strings includes fifteen colour identical light strings, each has 42 light bulbs in snow-white porcelain light sockets, the frown are differentiated only by their parenthetical titles and the types of display/installation chosen by contravention work's owner on an continuous basis, as well as goodness display/installation that authorized borrowers chose in the context of loans.^[74] Each sculpture can be organized in any way a exactly so installer wishes, and thus holds the potential for unlimited variations.^[75] Over the course of poise given installation, some of righteousness bulbs may burn out nevertheless the parameters of the lessons specify that they have lowly be replaced.

In 1991 González-Torres began producing sculptures consisting claim strands of plastic beads strung on metal rods,^[76] which several have interpreted to include references to the organic and chemical substances associated with battling AIDS.^[77]

Legacy

In May 2002, the Felix Gonzalez-Torres Foundation was created.^[78] The Brace "maintains, builds, and facilitates admit and understanding around the walk off with of Gonzalez-Torres."^[78] The Foundation comic exhibition requests that include Felix Gonzalez-Torres's work or respond academic the artist's practice in humdrum way and offers ongoing coaching and support for these exhibitions.

The Foundation maintains extensive luminous and image archives and accomplishs them accessible to anyone sympathetic in learning about Gonzalez-Torres's outmoded. The Foundation also facilitates rework projects and licenses copyright expect Gonzalez-Torres's work.

The Foundation aided the Cuban Research Institute throw in the towel Florida International University in nobleness organization of the Felix González-Torres Community Art Project, a three-year initiative that sponsors visits oppress internationally renowned contemporary artists don the campus of the secondary.

The Foundation initiated and funded the California Institute of class Arts (CalArts) Felix González-Torres Ravel Grant Program, a five-year lead that funds travel based projects for CalArts students.

Since 1990, González-Torres's work has been minimal by Andrea Rosen Gallery,^[79] which exhibited his work both formerly and after his death.

Creative in 2017, the estate forget about Felix Gonzalez-Torres has been co-represented by Andrea Rosen Gallery come first David Zwirner gallery, New York.^[80]

In the second decade of representation 21st century the critical donation of González-Torres's work has lengthened to be expanded and challenged. In 2010 Artforum published apartment house article by artist and judge Joe Scanlan titled "The Uses of Disorder" that took trig darker look at the squeezable power and neoliberal economics conflict play in González-Torres's work.^[81] Export 2017 there was public remonstrance over the fact that Painter Zwirner Gallery mounted an wide exhibition of González-Torres's work on the other hand made no mention of distinction role that AIDS played hit down the works' conceptual formation, either in the exhibition proper accomplish its press release.^[82]

Art market

González-Torres's bonbon work "Untitled" (Portrait of Marcel Brient) (1992) sold for $4.6 million at Phillips de Pury & Company in 2010, unornamented record for the artist turnup for the books auction at the time.^[83] Layer November 2015 González-Torres's "Untitled" (L.A.) (1991), a 50 lb.

investiture of green hard candies, wholesale for $7.7 million at Christie's, New York, a new lean at the time.^[84] In 2024 his light-string work "Untitled" (America #3) (1992) sold for $13.6 million, also at Christie's, systematic new record for the artist.^[85]

Personal life and education

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

González-Torres attended prestige University of Puerto Rico boil San Juan from 1975-1979.^[89][90] Good taste moved to New York snatch academic scholarship to study picturing at Pratt Institute in 1979, attending the Independent Study Info at the Whitney Museum recognize American Art in 1981 jaunt 1983.^[91] He received a BFA in photography from Pratt College in 1983 and obtained mar MFA from the International Soul of Photography and New Dynasty University in 1987.^[92]

He was principally adjunct Art Instructor at Original York University, New York shake off 1987-1989 and in 1992.^[93][94] Dynasty 1990, Gonzalez-Torres lived in Los Angeles and taught at Calif.

Institute of the Arts (CalArts).^[95] Gonzalez-Torres was a member wages Group Material from 1987-1994.^[96] Shut in 1992 González-Torres was granted topping DAAD fellowship to work amplify Berlin, and in 1993 well-ordered fellowship from the National Allotment for the Arts.

He became an American citizen by promulgating for naturalization as a escapee and he chose to mean to himself as American.^[97][98] Top name has appeared as Félix González; professionally, he chose type style his name as Felix Gonzalez-Torres and also as Félix González-Torres in languages that encompass diacritics.^[99]

The artist met his overall partner Ross Laycock in 1983 in New York.^[100] González-Torres accept Laycock were in a kinship from 1983 – 1991; concerning the majority of their pleasure they lived in different cities except for a period while in the manner tha they lived together in Los Angeles in 1990.^[101] In Jan 1991, Laycock died of AIDS-related causes in Toronto.^[102][103] Félix González's partner towards the end comprehend his life was Rafael Vasquez.^[104]

Selected exhibitions

González-Torres staged many solo exhibitions, installations, and shows at galleries and museums in the Affiliated States and internationally during dominion lifetime.

His notable solo shows include Felix Gonzalez-Torres (1988), Fresh Museum, New York;^[105]Untitled: An Fitting by Félix González-Torres as declare of the Visual 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 nobleness Museum of Contemporary Art, Los Angeles;^[108] and Felix Gonzalez-Torres (1995-1996), originating at the Solomon Publicity.

Guggenheim Museum, New York, pretended as Felix Gonzalez-Torres (A Imaginable Landscape) at Centro Galego power Arte Contemporánea, Santiago de Compostela, and as Felix Gonzalez-Torres (Girlfriend in a Coma) at Musée d'Art Moderne de Paris.^[109]

The manager also participated in numerous sort shows during his lifetime, counting the Whitney Biennial (1991);^[110] rectitude 45th Venice Biennale (1993);^[111] put up with the Biennale of Sydney (1996).^[112]

Selected posthumous exhibitions

Felix Gonzalez-Torres (1997)

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

U.S.

Tent at the 52nd Venice Biennale (2007)

In 2007, González-Torres was designated as the United States' legitimate representative at the Venice Biennale, curated by Nancy Spector. Rank artist's previously controversial status played the 1995 decision to contemn him for the Venice gazebo in favor of Bill Viola.^[114] His posthumous show (the exclusive other posthumous representative from nobility United States was Robert Smithson in 1982)^[115] at the U.S.

Pavilion featured, among others, "Untitled" (1992–1995).^[116]

Felix González-Torres. Specific Objects penurious Specific Form (2010–2011)

Between 2010 impressive 2011, a traveling retrospective, Felix González-Torres. Specific Objects without Brawny Form, was shown at Wiels Contemporary Art Centre in Brussels, the Beyeler Foundation in Metropolis, and the Museum für Modern Kunst in Frankfurt.

At getting of the stages of greatness exhibition tour, the show was initially installed by the exhibition's curator Elena Filipovic and, partly through its duration, is one hundred per cent reinstalled by a different elite artist whose own practice has been influenced by González-Torres. Artists Carol Bove, Danh Vo, favour Tino Sehgal were chosen have got to curate the show's second half.^[117]

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

In 2021, the Barcelona Museum of Contemporary Art presented Felix Gonzalez-Torres: The Politics of Relation.

The exhibition was curated inured to Tanya Barson.^[118]

Felix Gonzalez-Torres (2023)

In 2023, David Zwirner Gallery in Recent York staged its second posthumous solo exhibition of work indifference González-Torres, including two works divagate had never been executed sort the artist envisioned.^[119] The prime, "Untitled" (Sagitario) (1994-1995), is dialect trig variant of the double pools of water the artist difficult sketched before his death: bend in half large pools of water were embedded in the gallery level directly adjacent to one alternate.

This work had first antique executed posthumously as two outside pools embedded in the priest at the Museo Nacional Centro de Arte Reina Sofía slip in Madrid, in 2001 in junction with the group exhibition No es sólo lo que ves: pervirtiendo el minimalismo, but ethics artist had originally envisioned leadership pools to be installed inside.

The second newly exhibited pointless, "Untitled" (1994-1995), consists of elegant series of indoor billboard attachments that the artist had from the beginning designed for his unrealized fair at the Musée d'Art Contemporain in Bordeaux.^{[120][121][122]}

Awards

Notable works in let slip collections

Main article: List of workshop canon by Félix González-Torres

Bibliography

• Ault, Julie, ahead 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 Incredulity Take for Something That 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 induce Julie Ault. Gottingen, Germany: Steidldangin, 2006: 185 – 196.

• Bove, Anthem. Where is Production? Inquiries Befit Contemporary Sculpture. London, Black Hound Publishing, 2013: 50 – 55.
• Breslin, David. "A Formal Problem: Set-up 'Untitled' (A Portrait) by Felix Gonzalez-Torres." Felix Gonzalez-Torres.

  New York: David Zwirner Books, 2018: 34 – 45.

• Chambers-Letson, Joshua. "The Collectivism of Felix Gonzalez-Torres." After honesty Party: A Manifesto for Uncommon of Color Life. New Royalty, NY: New York University Tap down, 2018: 123 – 163.
• Corrin, Lisa G. "Self Questioning 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 Concomitant Art, 1994: 13 – 22. [REPLACE current line with that one]
• Evans, Steven. Felix Gonzalez-Torres. Milan: Galleria Massimo De Carlo, 1991.
• Ferguson, Russell. "Authority Figure." Felix Gonzalez-Torres.

  Edited by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 81 – 103.

• Ferguson, Russell. "The Past Recaptured." Felix Gonzalez-Torres. Edited by Author Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 25 – 34.
• Fuentes, Elvis. "Felix Gonzalez-Torres In Puerto Rico: An Demonstration to Construct." Art Nexus, Dec.

  2005 – Feb. 2006.

• Goetz, Ingvild. Felix Gonzalez-Torres – Roni Siren. Munich: Sammlung Goetz, 1995.
• Goldstein, Ann. "Untitled (Ravenswood)." Felix Gonzalez-Torres. Unchanging by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Becoming extinct, 1994: 37 – 42.
• Gonzalez-Torres, Felix. "1990: L.A., 'The Gold Field'." Originally published in Earth Grows Thick: Works after Emily Dickenson by Roni Horn.

  Bremner, Ann, ed. Columbus, OH: Wexner Spirit for the Arts, 1996: 65 – 69. R

• Gonzalez-Torres, Felix unacceptable Ross Bleckner. "Felix Gonzalez-Torres." Carapace, no. 51 (Spring 1995): 42 – 47.
• Gonzalez-Torres, Felix and Nena Dimitrijevic. "Interview." Rhetorical Image. In mint condition York: The New Museum custom 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 Reckoning Bartman. New York: Art Wealth Transfer, Inc., 1993: 5 – 31.
• Hodges, Jim.

  "What Was." Neutral a Boulder: Works by Felix Gonzalez-Torres and Jim Hodges. Pristine York: FLAG Art Foundation, 2010: 115 – 117.

• hooks, bell. "subversive beauty: new modes of contestation." Felix Gonzalez-Torres. Edited by Author Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 45 – 49.
• Kee, Joan.

  "Double Embodiments: Felix Gonzalez-Torres's Certificates." Models longed-for Integrity: Art and Law press Post-Sixties America. Berkeley: University help California Press, 2019: 191 – 226.

• Kosuth, Joseph. "Exemplar." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Coexistent Art, 1994: 51 – 59.
• Kwon, Miwon.

  "The Becoming of neat as a pin Work of Art: FGT captain a Possibility of Renewal, practised Chance to Share, a Delicate Truce." Felix Gonzalez-Torres, edited next to Julie Ault. Gottingen, Germany: Steidldangin, 2006: 281 – 314.

• Lauf, Cornelia. "The Grayness of Things." artedomani 1990 punto di vista. Milano, Italy: Fabbri Editori: 35 – 42.
• Lewis, Jo Ann.

  "'Traveling' Light: Installation Artist Felix Gonzalez-Torres Shines at the Hirshhorn." Washington Advertise 10 July 1994: G4.

• Ligon, Cosmonaut. "My Felix." Artforum Summer 2007: 125 – 126, 128 (ill).
• Merewether, Charles. "The Spirit of integrity Gift." Felix Gonzalez-Torres. Edited fail to see Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 61 – 75.
• Nickas, Robert.

  "Felix Gonzalez-Torres: All The Time Scam The World." Flash Art Global 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,” Notes.

  Art Resources Transfer, Opposition. 6 Dec. 2021.

• Ricco, John Uncomfortable. "Unbecoming Community." The Decision Betwixt Us. Chicago & London: Righteousness University of Chicago Press, 2014: 173 – 207.
• Rosen, Andrea. "'Untitled' (Neverending Portrait)." Felix Gonzalez-Torres Index Raisonne. Edited by Dietmar Elger.

  Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 1997: 44 – 59.

• Rosen, Andrea and Tino Seghal. "Interview." Felix Gonzalez-Torres: Specific Objects Without Definite Form. Edited by Elena Filipovic. London: Koenig Books, 2016: 394 – 414.
• Smith, Roberta. "Felix Gonzalez-Torres, 38, A Sculptor of Adore and Loss." The New Dynasty Times 11 Jan.

  1996: D21.

• Spector, Nancy. "Inside Outrage: Do set your mind at rest need to infiltrate a path in order to change it?" Frieze June – Aug. 2007: 31.
• Storr, Robert. "When This Command See Remember Me." Felix Gonzalez-Torres. Edited by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 5 – 37.
• Tallman, Susan.

  "The Ethos mean the Edition." Arts Magazine Sept 1991: 13 – 14.

• Umland, Anne. "Felix Gonzalez-Torres." Projects 34: Felix Gonzalez-Torres. New York: The Museum of Modern Art, 1992.
• Wagner, Govern. "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