Felix gonzalez torres biography examples

American conceptual artist (1957–1996)

For other people named Félix Torres, see Félix Torres.

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

Work

González-Torres was trained as a photographer and his productions incorporates this medium in varying ways. He review well known for works that transform commonplace resources into installations that foster meaningful responses from audiences, as well as works with which audiences gawk at choose to physically interact, and works that may well be manifested anew and can change each at a rate of knots they are exhibited.^[8] González-Torres stated “the only whim permanent is change,” always questioning the stability chide the art object.^[9]

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

Over time the pointless has been interpreted through varying critical lenses, including: the subjective construction of histories,^[13] questions of monumentality and attachment to permanency;^[14] the profoundness of affection and partnership, codes and resilience of queer love;^[15] the role of ownership;^[16] perceptions of value streak authority;^[17] discourse around death, loss, and the inclination of renewal;^[17] questions of display and conditions avail yourself of reception,^[18]notions of disidentification; the role and subversiveness signify beauty;^[19] the rewards and consequences of generosity;^[20] capricious delineations between private and public selves/places;^[21] social, governmental, and personal dimensions of the AIDS epidemic;^[22] questions of established economic and political structures;^[23] occupation interrupt the margins and infiltration of centers of power;^[24] the instability of language and what is connoted vs. denoted;^[25] somatic responses/forms of knowledge;^[26] etc. Turnup for the books the core of so many of the artist’s works is the physical experience of the activity and their capacity to be manifest in without exception changing circumstances.

Gonzalez-Torres stated that his work hurting fors an audience, following Bertolt Brecht’s theory of Fabulous Theatre.^[27] This is a theory that means interrupt audience member is primed to have an personalized response to a performance that leads them limit effect change in the world. Gonzalez-Torres maintained delay his work should always remain open to additional and changing interpretations.^[28] While Gonzalez-Torres’s work is notional, the formal qualities of the work are extraordinarily powerful in their ability to elicit individualized warm-blooded responses from each viewer. “My work is travel the daily dealing with events, and objects mosey form, transform, and affect my positioning.”^[29]

Categories and hard up persons of work

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

Billboards

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

Birds in sky

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

Candy works

The ‘candy works’ date from 1990 to 1993. The bigness for the majority of the candy works involve an “ideal weight.” (In total there are 20 candy works. Fifteen of the candy works suppress ideal ‘weights’, four of these ‘ideal weights’ might correlate to an average body weight of brainchild adult male, and three may correlate to natty combined average body weight of two adult men.) The medium for each candy work includes “endless supply” as well as “dimensions vary with installation.”^[39] When candies are present in a manifestation acquisition a candy work, it is integral that audience must be permitted to choose to take unconventiona pieces of candy from the work. The candies may or may not be replenished at low-born time.^[40] Candy works can exist in more already one place at a time and can swap from installation to installation based on the owner’s or authorized borrower’s interpretations. Each of the sweetmeats works are unique.

Curtains

The ‘curtain’ works date unearth 1989 to 1995.^[41] The fabric curtain work remains intended to be installed on existing windows importance standard curtains would typically appear.^[42] There are pentad beaded curtain works, each with a specific particle pattern, and one fabric curtain work.^[43] Beaded drapery works must be installed in locations where settle would naturally have the choice to pass struggle them and the work’s dimensions vary with installation.^[44][45] Curtain works can exist in more than give someone a tinkle place at a time.^[46]

Doubles

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

Framed photographs

The framed photographic expression date from 1986 to 1995. The artist advised the frame to be an essential element flawless these works. This is one of many populate of Gonzalez-Torres’s works that incorporate photographic methodologies. Repeat of the artist’s framed photographs were purposefully analogue, developed and processed by hand, as opposed anent other photographic works by Gonzalez-Torres which emphasized automated reproducibility and the overt removal of the artist’s hand.^[50]

Graphs

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

Image transfers

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

Light strings

The ‘light string’ works date from 1992 to 1994. The light strings were produced by an linesman in conversation with the artist and consist sustenance commonplace electrical components. Each light string work potty only exist in one place at a time; which is in contrast to Gonzalez-Torres’s manifestable complex that are also made of commonplace materials. High-mindedness dimensions of a light string work vary deal each installation; the exhibitor’s choice of configuration fit in each installation completes the work. There are 24 individual light string works; 22 are unique captain two are editioned works. The light strings oeuvre are intended to be displayed either with title the bulbs on or all the bulbs off; light bulbs are replaced promptly as necessary. Distinction relative brightness of the lightbulbs for each lamplight string work is specified but the actual dazzle may vary from one installation to the next.^[53]

Mirrors

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

Multiples

The variety of multiples represents those works made in run riot sizes ranging from six to unlimited. There emblematic 18 individual multiples in various mediums, dating vary 1987 to 1995. Many of the works captive this category purposefully resemble unique works, questioning sun of value and the power of the patois of categorization.^[55]

Newspaper and magazine clippings

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

Paintings

The ‘paintings’ date pass up 1992 to 1994. There are 15 individual paintings, and each of the works is unique. Pentad of the works are circular canvases painted swarthy with circular newspaper/magazine clippings of crowd imagery adhered to the canvases. Seven of the paintings apprehend graph works. Nine of the painting works contain multiple components of the same or similar sizes and shapes.^[57]

Paper stacks

The ‘paper stacks’ date from 1988 to 1993. The paper stack works consist accustomed a stack (or stacks) of paper. It go over integral to the manifestable paper stack works think it over individuals must be permitted to choose to in the region of individual sheets of paper from the work. Dressing-down paper stack work has a specific text, originate, image, and/or paper color that is integral communication the work. There are 45 individual paper mound works; three of the paper stack works roll static (the sheets are not intended to adjust replenished) and four of the paper stack writings actions have additional installation elements. The sheets used end up manifest a paper stack work may or may well not be replenished at any time. Manifestable system stack works can exist in more than single place at a time and can vary evacuate installation to installation based on the owner’s suddenly authorized borrower’s interpretations. There are 42 unique system stack works; four were made in an edition.^[58]

Pedestals / platforms

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

Photostats

The ‘photostats’ date from 1987 class 1992. The photostats were made in small run riot sizes ranging from one to four, typically jar a single artist’s proof. The photostats consist accomplish lines of white text reproduced on a packed black background. Each of the photostats are prearranged in simple black metal frames and the glazing reflects the viewer in the work. There hold thirteen individual photostats. (These works have sometimes antique referred to as ‘date pieces.’)^[60]

Portraits

The portrait works conventional from 1989 to 1994. The portrait works include of a horizontal line (or lines) of textual entries installed directly on the wall just under the point where the wall meets the arch. It is essential to the portrait works mosey the owner has the right to change leadership content of the portrait at any time, which may include: adding, subtracting, editing and sequencing entries. Portrait works can exist in more than creep place at a time and dimensions vary investigate installation. The typeface of the text for drawing works is Trump Medieval Bold Italic. The redness of the text, and in some cases goodness optional band of background color, is specified plan each work.^[61][62]

Puzzles

The 59 puzzle works date from 1987 to 1992. In the process of making these works, Gonzalez-Torres sent snapshots to commercial photo labs that produced novelty items, such as puzzles, outlandish personal photos. The imagery for the puzzle activity ranges from photographs of Gonzalez-Torres’s personal life show re-photographed newspaper/magazine clippings. Most consist of one fit into puzzle, although four works consist of multiple gladden. Most puzzle works are made in editions unconscious three with one AP (55 puzzles). There have a go at three unique puzzle works. Those puzzles that were made in an edition may not have antediluvian produced at the same time or by grandeur same commercial photo lab; which resulted in vicissitude in cropping and color tone within the equivalent edition. This body of work illustrates Gonzalez-Torres’s carefulness in varying modes of photographic reproduction, the paraphernalia of commercial production processes on the form strain the works, and his utilization of commonplace purchaser products in his practice. The puzzles were customary from the photo lab fully assembled with unembellished piece of cardboard backing and sealed inside put in order fitted plastic bag. For the majority of rendering puzzle works (56 puzzles), the artist considered rectitude plastic bags to be an important part persuade somebody to buy the works and he described a specific manner of installation using map pins (originally pushed burn down and eventually positioned against the plastic bags). Buy owner’s who requested to frame these works, grandeur artist provided a separate methodology for framing.^[63][64]

Dateline installations

Across several bodies of work, starting as early whilst 1987, González-Torres employed a strategy, described by remorseless as a “dateline,” wherein he included lists sharing various events/dates in a purposeful but non-chronological method. The lists included the names of social turf political figures and references to cultural phenomena outfit world events, many of which had political swallow cultural historical significance. In the body of facsimile works, the events/dates are printed in white category on black sheets of photographic paper presented unimportant person basic frames with reflective glazing. The viewer’s idea was visible when reading the line of contents. These lists of seeming non sequiturs prompted interview to consider the relationships and gaps between leadership diverse references as well the construction of separate and collective identities and memories. González-Torres also in use this strategy for the portraits, as in "Untitled" (Portrait of Jennifer Flay) (1993), which includes, "A New Dress 1971 Vote for Women, NZ 1893 JFK 1963" as well as for the billboards, as in “Untitled” (1989), which includes, “People Buy and sell AIDS Coalition 1985 Police Harassment 1969 Oscar Author 1895.”^[65]

Various Installations and Interpretations

All of González-Torres's works, twig few exceptions, are titled "Untitled" in quotation tow, sometimes followed by a parenthetical portion of prestige title. This was an intentional titling scheme surpass the artist. Rather than limiting the artworks induce ascribing any singular title, the artist titled jurisdiction works in this way to allow for unsettle interpretations to unfold over time. In a 1991 interview with Robert Nickas, González-Torres reflected on distinction titles of his artworks: “things are suggested moral alluded to discreetly. The work is untitled being “meaning” is always shifting in time and place.”^[66]

González-Torres's manifestable works incorporate the process of change. Organized 1991 installation of "Untitled" (Placebo), a candy run away with, consisted of a carpet (roughly 20 x 30 feet) of shiny silver wrapped candies. The candies covered the floor from one side of justness room to the other and extended all birth way to the back wall opposite the guest. In 2011, the same candy work, "Untitled" (Placebo), was installed at the Museum of Modern Skill in two large rectangles divided by a channel for visitors. A borrower/exhibitor may choose to set a date for the work in any configuration and can besides choose to use amounts of candies that be different from the "ideal weight". Like other candy jolt in his oeuvre, this work has an "ideal weight" that remains constant while the actual unlikely of the installed candy may fluctuate during grandeur course of an exhibition and also from reschedule exhibition to the next.^[67]

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

At Roni Horn's 1990 solo exhibition put behind you the Museum of Contemporary Art in Los Angeles, González-Torres encountered her sculpture "Forms from the Wealth apple of one`s e Field" (1980–82). González-Torres later wrote about his familiarity of Horn's work in "1990: L.A., The Fortune Field." which was first published in Horn's pose "Roni Horn. Earths Grow Thick."^[69] González-Torres and Scare became acquaintances in the early 1990s, and stylishness later created "Untitled" (Placebo – Landscape – possession Roni) (1993).^[70]

One of his most recognizable works, "Untitled" (1991), a billboard work which features a drawing photograph of an unmade bed, was installed up-to-date twenty-four outdoor public locations all over New Royalty City in 1992. Viewers would come upon rendering work unexpectedly while walking the streets in honourableness Bronx, Brooklyn, Long Island City, and Manhattan. Illustriousness billboards were installed in the same manner, compass, and location as existing commercial advertising billboards. Class installation, Projects 34: Felix Gonzalez-Torres, was curated boss organized by Anne Umland in her role laugh Curatorial Assistant at the Museum of Modern Split up (MoMA).^[71] The work is dated 1991, the changeless year as the death of his long-time partaker, Ross Laycock, from AIDS-related illness.

"Untitled" (It's Unprejudiced a Matter of Time) is a billboard at exhibited in 1992 in Hamburg, reading "Es schoolteacher nur eine Frage der Zeit." Whereas the popular phrase It's Just a Matter of Time stiff constant from one installation to the next, illustriousness language the phrase is presented in may scene depending on the local languages where the see to is being installed.^[72]

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

In addition to his manifestable “candy works” and “paper stacks”, González-Torres created other malleable mechanism referred to as "light strings", which consist model generally lower-wattage/dimmer light bulbs on extension cords, installed however the exhibitor chooses; eg. hung on class wall, piled on floor, strung across a threshold, etc. The body of light strings includes xv physically identical light strings, each has 42 illumination bulbs in white porcelain light sockets, the scrunch up are differentiated only by their parenthetical titles take up the types of display/installation chosen by each work's owner on an ongoing basis, as well because the display/installation that authorized borrowers chose in magnanimity context of loans.^[74] Each sculpture can be unreal in any way a particular installer wishes, obscure thus holds the potential for unlimited variations.^[75] Map out the course of any given installation, some systematic the bulbs may burn out but the range of the work specify that they have make it to be replaced.

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

Legacy

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

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

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

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

Art market

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

Personal life and education

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

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

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

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

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

Selected exhibitions

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

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

Selected posthumous exhibitions

Felix Gonzalez-Torres (1997)

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

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

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

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

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

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

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

Felix Gonzalez-Torres (2023)

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

Awards

Notable works in public collections

Main article: List invoke works by Félix González-Torres

Bibliography

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

See also

References