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Author:   Frances Richard
Publisher:   University of California Press
Imprint:   University of California Press
Dimensions:   Width: 15.20cm , Height: 4.60cm , Length: 22.90cm
Weight:   1.225kg
ISBN:  

9780520299092

ISBN 10:   0520299094
Pages:   560
Publication Date:   26 March 2019
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Out of stock  
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Table of Contents

"Introduction. CONFUSION GUIDED BY A CLEAR SENSE OF PURPOSE; or, a comet, which would have its tail in front PART ONE. TOTAL (SEMIOTIC) SYSTEM: READING GORDON MATTA-CLARK “Total (Semiotic) System” Walking and Reading WORKING AT SEVERAL DIMENTIONS “A step taken in the fog” “Kool Killer, or the Insurrection of Signs” PART TWO. ANARCHITECTURE AS POETIC DEVICE: GORDON MATTA-CLARK AND THE SOHO CONVERSATION Anarchitecture as Poetic Device “The Poetics of Psycho-Locus” AVAILABLE “Metaphoric Void” Arche and the Alpha Privative ""Ambiguity Is All” Art World Prince BEST LATED WISHES Of Trees, Burial, Cooking, and Cannibalism “Another name more or less the same” Venn Diagram To THE MEETING and THE MOB (AGAIN) MAKING NOT SOLVING PROBLEMS The Irrational Village and the Non-u-ment Un-monumentalizing Conversation Monument, Non-u-ment, and Site/Non-site Smithson Coda: The Islands Quadrille, Walls paper, et al. Fake Estates LAYERED REALITY, Thin Edge, and Space Between “Been Gone”: Notes on the Index Cut/Draw/Write Immune versus Cancer Cells PART THREE. A SILENT FORCE: THE LEGACIES OF MATTA AND DUCHAMP DEMENTIONS “A Silent Force” Matta and Pajarito: “Psychological Morphology” and Réalité parallèle Noguchi “Jestures” Étant . . . Anartist and Anarchitecture Inframince and Thin Edge Bullet Holes Phenomena of Infra- Readymade and Ready-to-be-unmade The Alchemical Pun PART FOUR. SPACISM: GORDON MATTA-CLARK AND THE POLITICAL “We chose to build a world of our own” “My understanding of art . . .” and THE JOY OF GETTING AWAY WITH IT SPACISM “I woundered who it is for . . .” Chile and the Bienal de São Paulo Window Blow-Out Arc de Triomphe for Workers A Resource Center and Environmental Youth Program for Loisaida THE VOYEURIST'S SPACE Violent Space, SECURITY MEASURES, and THE SIGN POST ANARCHIE The Money Photographs Cornell ’69 “Gordon Matta-Clark and Individualism” “A fine-tuned language and logic of the body” Conclusion. “WITHIN ABSURDITY THERE IS A FANTASTIC FREEDOM” Acknowledgments Abbreviations Notes List of Illustrations Index"

Reviews

Richard's compelling and crystalline prose make it quite the page-turner. Reading it under lockdown during a pandemic has been a particularly thought-provoking experience. Physical Poetics exemplifies the kind of rigorous work that is difficult to achieve, so thorough is its analysis of the archival and the material evidence. It reads at once like a biography, an essay and an inventory; it is a Matta-Clark concordance, but much more thrilling than that sounds. * Burlington Magazine * Richard conscientiously treats Matta-Clark's written word as another facet of his artistic production, which serves to contextualize and deepen an understanding of his short-lived career. Presenting these musings, complete with words crossed-out, spelling errors, arrows, and marginal notations from books, provides a conduit to Matta-Clark's archive and displays his playful use of language. This book is remarkable in its ability to systematically weave Matta-Clark's thought process with his artwork in a way that remains directly connected to the archives while still reading narratively. It would be an excellent resource for anyone interested in Matta-Clark and his milieu in the 1970s Soho art scene. * ARLIS/NA Reviews * Examining the titles of Matta-Clark's works, as well as private notebooks, aphoristic notecards, letters and loquacious statements he made to various interviewers, Richard-herself a poet-maps with obsessive precision the ways in which the artist's language use frames and enlarges his artworks, many of which exist now only in the form of documentation. . . . Richard's nimble exegesis of her subject and his language sets the stage for conjuring a vision of Matta-Clark working in the landscape. * Chicago Review of Books *

Richard conscientiously treats Matta-Clark's written word as another facet of his artistic production, which serves to contextualize and deepen an understanding of his short-lived career. Presenting these musings, complete with words crossed-out, spelling errors, arrows, and marginal notations from books, provides a conduit to Matta-Clark's archive and displays his playful use of language. This book is remarkable in its ability to systematically weave Matta-Clark's thought process with his artwork in a way that remains directly connected to the archives while still reading narratively. It would be an excellent resource for anyone interested in Matta-Clark and his milieu in the 1970s Soho art scene. * ARLIS/NA Reviews *

Richard authors an extensively researched and dense text that examines the archives of the artist, focussing predominantly on his prosaic texts and irreverent semantic aphorisms recorded on notecards. For any fan or interest in the artist, the book serves as part-analysis of the archive, with a nuanced insight into New York's emerging contemporary art scene of the late 1960's and early 70's. However, the volume also works as semi-biographical, charting Matta-Clark's tumultuous parentage and maturation, in a parallel to his works, interests, and backdrop of famous connections past, present, and future. * Visual Studies * Richard's compelling and crystalline prose make it quite the page-turner. Reading it under lockdown during a pandemic has been a particularly thought-provoking experience. Physical Poetics exemplifies the kind of rigorous work that is difficult to achieve, so thorough is its analysis of the archival and the material evidence. It reads at once like a biography, an essay and an inventory; it is a Matta-Clark concordance, but much more thrilling than that sounds. * Burlington Magazine * Richard conscientiously treats Matta-Clark's written word as another facet of his artistic production, which serves to contextualize and deepen an understanding of his short-lived career. Presenting these musings, complete with words crossed-out, spelling errors, arrows, and marginal notations from books, provides a conduit to Matta-Clark's archive and displays his playful use of language. This book is remarkable in its ability to systematically weave Matta-Clark's thought process with his artwork in a way that remains directly connected to the archives while still reading narratively. It would be an excellent resource for anyone interested in Matta-Clark and his milieu in the 1970s Soho art scene. * ARLIS/NA Reviews * Examining the titles of Matta-Clark's works, as well as private notebooks, aphoristic notecards, letters and loquacious statements he made to various interviewers, Richard-herself a poet-maps with obsessive precision the ways in which the artist's language use frames and enlarges his artworks, many of which exist now only in the form of documentation. . . . Richard's nimble exegesis of her subject and his language sets the stage for conjuring a vision of Matta-Clark working in the landscape. * Chicago Review of Books *

Author Information

Frances Richard is the author of three books of poetry, coauthor of Odd Lots: Revisiting Gordon Matta-Clark’s “Fake Estates,” and editor of Joan Jonas is on our mind and I Stand in My Place with My Own Day Here: Site-Specific Art at The New School. She teaches at the California College of the Arts.

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