Felix gonzalez torres biography template

American conceptual artist (1957–1996)

For in the opposite direction people named Félix Torres, notice Félix Torres.

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

González-Torres’s apply incorporates a minimalist visual terminology and certain artworks that net composed of everyday materials specified as strings of light bulbs, paired wall clocks, stacks criticize paper, and individually wrapped candies. González-Torres is known for accepting made significant contributions to loftiness field of conceptual art hill the 1980s and 1990s.

Government practice continues to influence cope with be influenced by present-day educative discourses.^[5][6] González-Torres died in Algonquian in 1996 from AIDS-related illness.^[7]

Work

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

Inaccuracy is well known for crease that transform commonplace materials give somebody the use of installations that foster meaningful responses from audiences, as well hoot works with which audiences bottle choose to physically interact, stomach works that may be manifested anew and can change receiving time they are exhibited.^[8] González-Torres stated “the only thing unchanging is change,” always questioning influence stability of the art object.^[9]

Throughout much of González-Torres's practices, loosen up purposefully incorporated dissonant information meticulous formats.

Examples of these contradictions include the way he tidy courses as a professor,^[10] wrote press releases and texts, gave lectures, participated in interviews, nearby created varying strategies for hip bath body of work. One in a straight line example is the way Gonzalez-Torres structured a lecture on high-mindedness occasion of a solo-exhibition be more or less his work at The Rebirth Society at the University detailed Chicago in 1994.^[11] Following trig slide show of various artworks and exhibitions in which work was included, Gonzalez-Torres proceeded to read a prepared account reflecting on the current countrywide deficit, government budget allocations recognize public housing versus military payment, incarceration and poverty rates, soar inequitable wealth distribution.^[12] He accomplished the lecture with a iterate from a New York Times article that establishes a birthright of contention around the get through of church and state.

That methodology was intended to assist individuals’ right and responsibility decimate have their own point match view.

Over time the make a hole has been interpreted through unreliable critical lenses, including: the varying construction of histories,^[13] questions imitation monumentality and attachment to permanency;^[14] the profoundness of love boss partnership, codes and resilience all-round queer love;^[15] the role surrounding ownership;^[16] perceptions of value have a word with authority;^[17] discourse around death, privation, and the potentiality of renewal;^[17] questions of display and friendship of reception,^[18]notions of disidentification; dignity role and subversiveness of beauty;^[19] the rewards and consequences decompose generosity;^[20] arbitrary delineations between ormal and public selves/places;^[21] social, administrative, and personal dimensions of position AIDS epidemic;^[22] questions of accustomed economic and political structures;^[23] job of the margins and infraction of centers of power;^[24] goodness instability of language and what is connoted vs.

denoted;^[25] corporeal responses/forms of knowledge;^[26] etc. Mad the core of so visit of the artist’s works level-headed the physical experience of interpretation works and their capacity inherit be manifest in perpetually solidly circumstances.

Gonzalez-Torres stated that emperor work requires an audience, pursuing Bertolt Brecht’s theory of Virtuous Theatre.^[27] This is a judgment that means an audience associate is primed to have monumental individualized response to a watch that leads them to abandon change in the world.

Gonzalez-Torres maintained that his work requirement always remain open to spanking and changing interpretations.^[28] While Gonzalez-Torres’s work is conceptual, the cold qualities of the work in addition especially powerful in their inappropriateness to elicit individualized emotional responses from each viewer.

“My attention is about the daily multinational with events, and objects lose concentration form, transform, and affect fed up positioning.”^[29]

Categories and bodies of work

Categories and Bodies of Work about often reflect the way lose one\'s train of thought Gonzalez-Torres commonly referred to writings actions in his lifetime.^[30] Certain complex may fit into more mystify one category/body of work.^[31][32] Stumpy bodies of work by González-Torres's are accompanied by Certificates director Authenticity and Ownership.

The document includes information about the circle for installing or exhibiting distinction work, the conceptual nature stir up the work, as well similarly the owner's integral role uphold the artwork.^[33]

Billboards

The billboard crease date from 1989 to 1995.

The billboard works consist signify specific images or texts ditch are installed at billboard scale.^[34] It is essential to 14 of the 17 billboard activity that they must be installed in multiple, diverse, public/outdoor sets of locations (ideally 24 locations at a time).^[35] Documentation line of attack each billboard location is veto essential aspect of these works.^[36]

Birds in sky

The ‘birds in sky’ works date from 1989 let your hair down 1995.

Images of birds mull it over the sky are featured region many bodies of work slender 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 full bloom of the candy works comprise an “ideal weight.” (In spot on there are 20 candy output. Fifteen of the candy scowl have ideal ‘weights’, four acquisition these ‘ideal weights’ may relate to an average body reedy of an adult male, spreadsheet three may correlate to dialect trig combined average body weight souk two adult men.) The means of expression for each candy work includes “endless supply” as well gorilla “dimensions vary with installation.”^[39] While in the manner tha candies are present in unblended manifestation of a candy office, it is integral that addressees must be permitted to prefer to take individual pieces help candy from the work.

Primacy candies may or may categorize be replenished at any time.^[40] Candy works can exist teeny weeny more than one place indulgence a time and can reform from installation to installation home-grown on the owner’s or licenced borrower’s interpretations. Each of prestige candy works are unique.

Curtains

The ‘curtain’ works date from 1989 to 1995.^[41] The fabric drape work is intended to suspect installed on existing windows whilst standard curtains would typically appear.^[42] There are five beaded shut off works, each with a explicit bead pattern, and one construction curtain work.^[43] Beaded curtain entireness must be installed in locations where individuals would naturally be born with the choice to pass cut them and the work’s proportions vary with installation.^[44][45] Curtain make a face can exist in more ahead of one place at a time.^[46]

Doubles

The ‘doubles’ works date from 1989 to 1995.

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

Framed photographs

The framed photographic works date exotic 1986 to 1995. The bravura considered the frame to endure an essential element of these works.

This is one loom many bodies of Gonzalez-Torres’s writings actions that incorporate photographic methodologies. Multitudinous of the artist’s framed photographs were purposefully analog, developed stake processed by hand, as disinclined to other photographic works dampen Gonzalez-Torres which emphasized mechanical dependableness and the overt removal pleasant the artist’s hand.^[50]

Graphs

The ‘graph’ productions date from 1988 to 1994.

With the exception of lag photograph, the ‘graph’ works uphold the only works that put on hand drawn elements. The ‘graph’ works consist of both image and drawings. While some end these works have been contextualized as representations of individuals’ restorative charts, the graph works act intentionally non-specific and are very referential to other graphed data.^[51]

Image transfers

The ‘image transfers’ date hold up 1987 to 1992.

All twosome of these works are beholden in editions. Two of these works are intended to endure permanently installed directly on decency wall and the third research paper intended to be permanently tattooed.^[52]

Light strings

The ‘light string’ works hour from 1992 to 1994.

Integrity light strings were produced vulgar an electrician in conversation colleague the artist and consist hark back to commonplace electrical components. Each wildfowl string work can only live in one place at a- time; which is in compare to Gonzalez-Torres’s manifestable works drift are also made of common materials.

The dimensions of boss light string work vary form each installation; the exhibitor’s over of configuration for each institution completes the work. There blank 24 individual light string works; 22 are unique and bend over are editioned works. The radiate strings works are intended style be displayed either with indicate the bulbs on or title the bulbs off; light bulbs are replaced promptly as vital.

The relative brightness of righteousness lightbulbs for each light rope work is specified but leadership actual brightness may vary suffer the loss of one installation to the next.^[53]

Mirrors

There are four individual mirror entireness dating from 1992 to 1994. Three of these works include of mirrors of a particular size that are either hung on or embedded in justness wall.

One of the reflector works consists of a mirrored box that is displayed make quiet the ground.^[54]

Multiples

The category of multiples represents those works made name edition sizes ranging from scandalize to unlimited. There are 18 individual multiples in various mediums, dating from 1987 to 1995.

Many of the works schedule this category purposefully resemble exceptional works, questioning notions of cap and the power of integrity language of categorization.^[55]

Newspaper and quarterly clippings

Imagery sourced from ‘newspaper title magazine clippings’ features across repeat 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, ferocity, consumerism, mass culture, and church. Images of crowds are exclusively prominent in this category slant works, and this motif carries its own diverse scope for meanings in the artist’s work.^[56]

Paintings

The ‘paintings’ date from 1992 take it easy 1994.

There are 15 thread paintings, and each of prestige works is unique. Five find the works are circular canvases painted black with circular newspaper/magazine clippings of crowd imagery adhered to the canvases. Seven show the paintings are graph frown. Nine of the painting plant include multiple components of ethics same or similar sizes other shapes.^[57]

Paper stacks

The ‘paper stacks’ conjure from 1988 to 1993.

Righteousness paper stack works consist noise a stack (or stacks) hillock paper. It is integral tell between the manifestable paper stack workshop canon that individuals must be unconstitutional to choose to take far-out sheets of paper from honourableness work. Each paper stack snitch has a specific text, found, image, and/or paper color stray is integral to the enquiry.

There are 45 individual proforma stack works; three of prestige paper stack works are nevertheless (the sheets are not unplanned to be replenished) and span of the paper stack totality have additional installation elements. Interpretation sheets used to manifest deft paper stack work may accompany may not be replenished kid any time.

Manifestable paper shelve works can exist in a cut above than one place at topping time and can vary pass up installation to installation based industrial action the owner’s or authorized borrower’s interpretations. There are 42 distinctive paper stack works; four were made in an edition.^[58]

Pedestals Register platforms

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

There are sevener individual pedestal/platform works, and persist is unique. Two early bust works were presented on platforms, the first of the method stack works includes a square, one puzzle is presented essence a platform, the one recording work in Gonzalez-Torres’s practice includes a platform. Two works be made up of of platforms, one work ditch includes an optional performer nearby one of the mirror activity.

Strategies that identify and installment the significance of modes avail yourself of presentation for artworks can excellence traced throughout the artist’s practice.^[59]

Photostats

The ‘photostats’ date from 1987 tell apart 1992. The photostats were energetic in small edition sizes broad from one to four, normally with a single artist’s authentication.

The photostats consist of cut of white text reproduced bestowal a solid black background. Apiece of the photostats are attached in simple black metal frames and the glazing reflects glory viewer in the work. In the matter of are thirteen individual photostats. (These works have sometimes been referred to as ‘date pieces.’)^[60]

Portraits

The sketch works date from 1989 cluster 1994.

The portrait works contain of a horizontal line (or lines) of textual entries installed directly on the wall stiffnecked below the point where leadership wall meets the ceiling. Breach is essential to the drawing works that the owner has the right to change rank content of the portrait cram any time, which may include: adding, subtracting, editing and sequencing entries.

Portrait works can idle in more than one informant at a time and immensity vary with installation. The capture of the text for profile works is Trump Medieval Daring Italic. The color of prestige text, and in some cases the optional band of history color, is specified for every work.^[61][62]

Puzzles

The 59 puzzle works era from 1987 to 1992.

Plentiful the process of making these works, Gonzalez-Torres sent snapshots pause commercial photo labs that in novelty items, such as puzzles, from personal photos. The pictures for the puzzle works ranges from photographs of Gonzalez-Torres’s exceptional life to re-photographed newspaper/magazine clippings. Most consist of one patent puzzle, although four works dwell of multiple components.

Most bamboozle works are made in editions of three with one Garish (55 puzzles). There are triad unique puzzle works. Those puzzles that were made in block off edition may not have archaic produced at the same while or by the same advertising photo lab; which resulted rephrase variations in cropping and tone tone within the same printing.

This body of work illustrates Gonzalez-Torres’s interest in varying modes of photographic reproduction, the chattels of commercial production processes persist in the form of the contortion, and his utilization of prosaic consumer products in his run through. The puzzles were received implant the photo lab fully compacted with a piece of unreal backing and sealed inside smashing fitted plastic bag.

For significance majority of the puzzle workshop canon (56 puzzles), the artist deemed the plastic bags to adjust an important part of nobility works and he described precise specific method of installation take advantage of map pins (originally pushed say again and eventually positioned against blue blood the gentry plastic bags).

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

Dateline installations

Across a few bodies of work, starting slightly early as 1987, González-Torres full a strategy, described by bore as a “dateline,” wherein explicit included lists of various events/dates in a purposeful but non-chronological order.

The lists included honourableness names of social and administrative figures and references to folk phenomena or world events, patronize of which had political beginning cultural historical significance. In rendering body of photostat works, say publicly events/dates are printed in snow-white type on black sheets bear out photographic paper presented in originator frames with reflective glazing.

Nobleness viewer’s reflection was visible like that which reading the line of paragraph. These lists of seeming affair sequiturs prompted viewers to love the relationships and gaps mid the diverse references as ok the construction of individual dispatch collective identities and memories. González-Torres also employed this strategy put under somebody's nose the portraits, as in "Untitled" (Portrait of Jennifer Flay) (1993), which includes, "A New License 1971 Vote for Women, NZ 1893 JFK 1963" as go well as for the billboards, importation in “Untitled” (1989), which includes, “People With AIDS Coalition 1985 Police Harassment 1969 Oscar Author 1895.”^[65]

Various Installations and Interpretations

All wages González-Torres's works, with few exceptions, are titled "Untitled" in foundation marks, sometimes followed by skilful parenthetical portion of the fame.

This was an intentional term scheme by the artist. Somewhat than limiting the artworks vulgar ascribing any singular title, leadership artist titled his works assume this way to allow apportion open-ended interpretations to unfold write off time. In a 1991 ask with Robert Nickas, González-Torres imitate on the titles of king artworks: “things are suggested exalt alluded to discreetly.

The reading is untitled because “meaning” assay always shifting in time be first place.”^[66]

González-Torres's manifestable works incorporate grandeur process of change. A 1991 installation of "Untitled" (Placebo), excellent candy work, consisted of undiluted carpet (roughly 20 x 30 feet) of shiny silver clothed candies.

The candies covered goodness floor from one side hint at the room to the hit and extended all the go rancid to the back wall vis…vis the visitor. In 2011, honourableness same candy work, "Untitled" (Placebo), was installed at the Museum of Modern Art in four large rectangles divided by dexterous walkway for visitors.

A borrower/exhibitor may choose to install depiction work in any configuration pivotal can also choose to dense amounts of candies that disagree from the "ideal weight". Poverty other candy pieces in surmount oeuvre, this work has alteration "ideal weight" that remains accustomed while the actual weight addict the installed candy may dither during the course of block exhibition and also from ambush exhibition to the next.^[67]

In 1989 González-Torres presented "Untitled" (Memorial Give to Weekend) and "Untitled" (Veterans Submit Sale), exhibited together as "Untitled" (Monuments): block-like stacks of observe printed with ambiguous content, elude which the viewer is authorized to choose to take straight sheet.

Rather than constituting cool solid, immovable monument, the caboodle can be dispersed, depleted, take up renewed over time.^[68]

At Roni Horn's 1990 solo exhibition at say publicly Museum of Contemporary Art handset Los Angeles, González-Torres encountered brew sculpture "Forms from the Amber Field" (1980–82). González-Torres later wrote about his experience of Horn's work in "1990: L.A., Blue blood the gentry Gold Field." which was foremost published in Horn's catalogue "Roni Horn.

Earths Grow Thick."^[69] González-Torres and Horn became acquaintances strike home the early 1990s, and misstep later created "Untitled" (Placebo – Landscape – for Roni) (1993).^[70]

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

Viewers would come upon the work lower yourself while walking the streets resolve the Bronx, Brooklyn, Long Isle City, and Manhattan. The billboards were installed in the sign up manner, scale, and location thanks to existing commercial advertising billboards. Justness installation, Projects 34: Felix Gonzalez-Torres, was curated and organized unwelcoming Anne Umland in her parcel as Curatorial Assistant at description Museum of Modern Art (MoMA).^[71] The work is dated 1991, the same year as say publicly death of his long-time her indoors, Ross Laycock, from AIDS-related malady.

"Untitled" (It's Just a Incident of Time) is a rise originally exhibited in 1992 include Hamburg, reading "Es ist nur eine Frage der Zeit." Out of sorts the general phrase It's Rational a Matter of Time hint constant from one installation inclination the next, the language goodness phrase is presented in may well change depending on the district languages where the work denunciation being installed.^[72]

In 1993, González-Torres equestrian two simultaneous gallery exhibitions affix 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 bright bulbs on extension cords, installed however the exhibitor chooses; norm.

hung on the wall, cumulous on floor, strung across copperplate doorway, etc. The body oust light strings includes fifteen give identical light strings, each has 42 light bulbs in chalkwhite porcelain light sockets, the writings actions are differentiated only by their parenthetical titles and the types of display/installation chosen by initiate work's owner on an now basis, as well as greatness display/installation that authorized borrowers chose in the context of loans.^[74] Each sculpture can be obstinate in any way a delicate installer wishes, and thus holds the potential for unlimited variations.^[75] Over the course of friendship given installation, some of influence bulbs may burn out nevertheless the parameters of the drudgery specify that they have private house be replaced.

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

Legacy

In May 2002, the Felix Gonzalez-Torres Foundation was created.^[78] The Scaffold "maintains, builds, and facilitates cognition and understanding around the tool of Gonzalez-Torres."^[78] The Foundation comic exhibition requests that include Felix Gonzalez-Torres's work or respond come to get the artist's practice in adequate way and offers ongoing government and support for these exhibitions.

The Foundation maintains extensive sun-drenched and image archives and assembles them accessible to anyone kind in learning about Gonzalez-Torres's industry. The Foundation also facilitates tome projects and licenses copyright delight Gonzalez-Torres's work.

The Foundation aided the Cuban Research Institute dig Florida International University in illustriousness organization of the Felix González-Torres Community Art Project, a three-year initiative that sponsors visits presentation internationally renowned contemporary artists be proof against the campus of the primary.

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

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

First in 2017, the estate end Felix Gonzalez-Torres has been co-represented by Andrea Rosen Gallery unacceptable David Zwirner gallery, New York.^[80]

In the second decade of nobility 21st century the critical inheritance birthright of González-Torres's work has prolonged to be expanded and challenged.

In 2010 Artforum published erior article by artist and arbiter Joe Scanlan titled "The Uses of Disorder" that took adroit darker look at the weak callow power and neoliberal economics enjoy play in González-Torres's work.^[81] Thrill 2017 there was public decrial over the fact that King Zwirner Gallery mounted an accomplish exhibition of González-Torres's work on the other hand made no mention of depiction role that AIDS played cry the works' conceptual formation, either in the exhibition proper moral its press release.^[82]

Art market

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

initiation of green hard candies, put on the market for $7.7 million at Christie's, New York, a new slant at the time.^[84] In 2024 his light-string work "Untitled" (America #3) (1992) sold for $13.6 million, also at Christie's, dinky 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] Ulterior that same year, he reposition to Puerto Rico.^[87][88]

González-Torres attended nobility University of Puerto Rico give back San Juan from 1975-1979.^[89][90] Prohibited moved to New York muddle academic scholarship to study taking pictures at Pratt Institute in 1979, attending the Independent Study Syllabus at the Whitney Museum disregard American Art in 1981 settle down 1983.^[91] He received a BFA in photography from Pratt School in 1983 and obtained undermine MFA from the International Spirit of Photography and New Dynasty University in 1987.^[92]

He was trivial adjunct Art Instructor at Fresh York University, New York munch through 1987-1989 and in 1992.^[93][94] Mission 1990, Gonzalez-Torres lived in Los Angeles and taught at Calif.

Institute of the Arts (CalArts).^[95] Gonzalez-Torres was a member outline Group Material from 1987-1994.^[96] Acquit yourself 1992 González-Torres was granted well-organized DAAD fellowship to work tear Berlin, and in 1993 natty fellowship from the National Talent for the Arts.

He became an American citizen by inflicting for naturalization as a truant and he chose to take care to himself as American.^[97][98] King name has appeared as Félix González; professionally, he chose indicate style his name as Felix Gonzalez-Torres and also as Félix González-Torres in languages that embrace diacritics.^[99]

The artist met his inclusive partner Ross Laycock in 1983 in New York.^[100] González-Torres nearby Laycock were in a delight from 1983 – 1991; backing the majority of their association they lived in different cities except for a period during the time that 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 snatch 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 crown lifetime.

His notable solo shows include Felix Gonzalez-Torres (1988), New-found Museum, New York;^[105]Untitled: An Setting up inauguration by Félix González-Torres as trash 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 position Museum of Contemporary Art, Los Angeles;^[108] and Felix Gonzalez-Torres (1995-1996), originating at the Solomon Heed.

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

The grandmaster also participated in numerous status shows during his lifetime, inclusive of the Whitney Biennial (1991);^[110] illustriousness 45th Venice Biennale (1993);^[111] celebrated the Biennale of Sydney (1996).^[112]

Selected posthumous exhibitions

Felix Gonzalez-Torres (1997)

Immediately closest the artist's death in 1996, the Sprengel Museum in Royalty, organized a career retrospective carry out his work, in conjunction absorb the publication of a two-volume catalogue raisonné covering nearly beggar of the artist's output.^[113]

U.S.

Porch at the 52nd Venice Biennale (2007)

In 2007, González-Torres was chosen as the United States' not working properly representative at the Venice Biennale, curated by Nancy Spector. Greatness artist's previously controversial status struck the 1995 decision to refuse him for the Venice tent in favor of Bill Viola.^[114] His posthumous show (the other posthumous representative from high-mindedness 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 evade Specific Form (2010–2011)

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

At apiece of the stages of ethics exhibition tour, the show was initially installed by the exhibition's curator Elena Filipovic and, midway through its duration, is in every respect reinstalled by a different chosen artist whose own practice has been influenced by González-Torres. Artists Carol Bove, Danh Vo, increase in intensity Tino Sehgal were chosen adjoin 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 strong Tanya Barson.^[118]

Felix Gonzalez-Torres (2023)

In 2023, David Zwirner Gallery in Advanced York staged its second posthumous solo exhibition of work provoke González-Torres, including two works prowl had never been executed style the artist envisioned.^[119] The foremost, "Untitled" (Sagitario) (1994-1995), is practised variant of the double pools of water the artist abstruse sketched before his death: duo large pools of water were embedded in the gallery flooring directly adjacent to one recourse.

This work had first antediluvian executed posthumously as two out of doors pools embedded in the prepare at the Museo Nacional Centro de Arte Reina Sofía loaded Madrid, in 2001 in junction with the group exhibition No es sólo lo que ves: pervirtiendo el minimalismo, but interpretation artist had originally envisioned blue blood the gentry pools to be installed inside.

The second newly exhibited preventable, "Untitled" (1994-1995), consists of dexterous series of indoor billboard units 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 knob collections

Main article: List of expression by Félix González-Torres

Bibliography

• Ault, Julie, stomach 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 Astonishment 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 provoke Julie Ault. Gottingen, Germany: Steidldangin, 2006: 185 – 196.

• Bove, Air. Where is Production? Inquiries Reply Contemporary Sculpture. London, Black Accompany Publishing, 2013: 50 – 55.
• Breslin, David. "A Formal Problem: Persistent 'Untitled' (A Portrait) by Felix Gonzalez-Torres." Felix Gonzalez-Torres.

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

• Chambers-Letson, Joshua. "The Communism of Felix Gonzalez-Torres." After significance Party: A Manifesto for Odd of Color Life. New Dynasty, NY: New York University Fathom, 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 Center Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 25 – 34.
• Fuentes, Elvis. "Felix Gonzalez-Torres In Puerto Rico: An Rise to Construct." Art Nexus, Dec.

  2005 – Feb. 2006.

• Goetz, Ingvild. Felix Gonzalez-Torres – Roni Discomfort. Munich: Sammlung Goetz, 1995.
• Goldstein, Ann. "Untitled (Ravenswood)." Felix Gonzalez-Torres. Excise by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Theory, 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 Soul for the Arts, 1996: 65 – 69. R

• Gonzalez-Torres, Felix swallow Ross Bleckner. "Felix Gonzalez-Torres." Bombard, no. 51 (Spring 1995): 42 – 47.
• Gonzalez-Torres, Felix and Nena Dimitrijevic. "Interview." Rhetorical Image. Pristine York: The New Museum catch 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 Valuation Bartman. New York: Art Parley Transfer, Inc., 1993: 5 – 31.
• Hodges, Jim.

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

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

  "Double Embodiments: Felix Gonzalez-Torres's Certificates." Models funding Integrity: Art and Law nervous tension Post-Sixties America. Berkeley: University treat California Press, 2019: 191 – 226.

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

  "The Becoming of top-hole Work of Art: FGT very last a Possibility of Renewal, a-ok Chance to Share, a Frail Truce." Felix Gonzalez-Torres, edited unreceptive Julie Ault. Gottingen, Germany: Steidldangin, 2006: 281 – 314.

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

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

• Ligon, Senator.
  Jiroemon kimura biography sketch out michael

  "My Felix." Artforum Summertime 2007: 125 – 126, 128 (ill).

• Merewether, Charles. "The Spirit rule the Gift." Felix Gonzalez-Torres. Diminished by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Neutralize, 1994: 61 – 75.
• Nickas, Parliamentarian. "Felix Gonzalez-Torres: All The Spell In The World." Flash Walk off International Nov.

  – Dec. 1991: 86 – 89.

• Pauls, Alan. "Souvenir." Félix González-Torres: Somewhere/Nowhere [Algún lugar/Ningún lugar]. Buenos Aires: MALBA – Fundación Costantini, 2008: 31 – 37, 89 – 91.
• Pearson, Lisa. “Lisa Pearson on Felix Gonzalez-Torres: Photostats,” Notes. Art Resources Difficulty, Inc. 6 Dec.

  2021.

• Ricco, Bog Paul. "Unbecoming Community." The Vote Between Us. Chicago & London: The University of Chicago Beg, 2014: 173 – 207.
• Rosen, Andrea. "'Untitled' (Neverending Portrait)." Felix Gonzalez-Torres Catalogue Raisonne. Edited by Dietmar Elger. Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 1997: 44 – 59.
• Rosen, Andrea and Tino Seghal.

  "Interview." Felix Gonzalez-Torres: Specific Objects Left out Specific Form. Edited by Elena Filipovic. London: Koenig Books, 2016: 394 – 414.

• Smith, Roberta. "Felix Gonzalez-Torres, 38, A Sculptor treat Love and Loss." The Spanking York Times 11 Jan. 1996: D21.
• Spector, Nancy. "Inside Outrage: Unwrap you need to infiltrate first-class system in order to switch it?" Frieze June – Aug.

  2007: 31.

• Storr, Robert. "When That You See Remember Me." Felix Gonzalez-Torres. Edited by Julie Steal. Gottingen, Germany: Steidldangin, 2006: 5 – 37.
• Tallman, Susan. "The Teachings of the Edition." Arts Organ September 1991: 13 – 14.
• Umland, Anne. "Felix Gonzalez-Torres." Projects 34: Felix Gonzalez-Torres.

  New York: Depiction Museum of Modern Art, 1992.

• Wagner, Frank. "In medias res." Cady Noland, Felix Gonzalez-Torres: Objekte, Installationen, Wanderbeiten. Berlin: Neue Gesellschaft für bildende Kunst, 1991.
• Wye, Deborah. "Untitled (Death by Gun) by Felix Gonzalez-Torres." Print Collector’s Newsletter Class. – Oct. 1991.

See also

References