On the time, Matta-Clark was already a well known determine in New York’s downtown artwork scene; along with his avant-garde artwork apply, he cofounded White Columns (then known as 112 Greene Avenue) as a substitute artwork house, in addition to the legendary artist-run restaurant FOOD. Right here, his gelatin silver prints of graffiti artwork, a lot of them hand coloured, actually reframe the imagery as institutional artwork.
Documentation of Gordon Matta-Clark’s “Graffiti Truck” (1973) printed on vinyl
White Columns isn’t capacious sufficient for a complete survey on the topic, however in a means, that is an asset: The exhibition has the texture of a time capsule that by no means veers too far into didacticism — nor does it overly valorize Matta-Clark’s position on this historical past regardless of his centrality to the house. The pictures are extra essential as historic data than artworks. Because the latter, they stroll a high-quality line between drawing consideration to the graffiti artists and co-opting their work by way of the elder artist’s modified images. To this finish, the press launch attracts consideration to the alliance between that artwork kind and conceptual artwork, however what comes throughout most within the exhibition is the dynamic vitality and creativity of the graffiti artwork. Higher- and lesser-known names fill the partitions of the most important room with work and marker drawings in vivid, glowing blues, cherry reds, yellows, and different jewel colours. An early sketch by Futura 2000, one of many present’s largest names, sees an 18-year-old Futura experimenting along with his tag in icy blue hues.
Didactics provide background on artists who had been foundational to graffiti’s growth as an artwork kind, however didn’t turn out to be artwork world figures. One standout piece is an experimental marker drawing by SKJ 171 (1973) that locations his tag on a white cloud-like form sandwiched between irregular sky blue and purple zones. The textual content explains that he was an authentic member of United Graffiti Artists (UGA) and documented his and others’ artworks early on. Likewise, guests study that Topcat 126 introduced the influential “Broadway Elegant” fashion of writing from Philadelphia to Manhattan in 1971. The thick ruby pink letters on the backside of his 1973 drawing are incandescent.
Vitrines full of sketchbook pages, spray paint, and different gadgets are much more intimate glimpses into the artists’ worlds. It’s these drawings, sketches, and work that make you’re feeling such as you had been there.
SJK 171, work from 1973, marker on canvas
Marker on paper works by varied artists with corresponding pictures of tags
Ephemera by varied artists
Tagged partitions and subway vehicles photographed by Gordon Matta-Clark
Snake, work from 1973, spray paint and marker on canvas
Ephemera by varied artists
Gordon Matta-Clark: NYC Graffiti 1972/3 continues at White Columns (91 Horatio Avenue, West Village, Manhattan) by way of Might 17. The exhibition was curated by Roger Gastman and Jessamyn Fiore.
