7/21/2023 0 Comments June 29 bomb athens iconographer![]() Aspen, Tavelli Gallery, Group Show, July 15–Aug.1990 President Clinton 1992 Harry the Dog 1983 Blue Lake 1986 Interferon 1989 Ross 1984 March on Washington 1987 An Easy Death 19 Jeff 1978 Lover Boys 1990 Blue Flowers 1984 Stock Market Crash 1987 Supreme Court 1986 White Shirt 1984 Soft Pillow 1990 Lyon, Espace Lyonnais d’Art Contemporain, Here’s Looking at Me/À mes beaux yeux: Autoportraits contemporains, Jan.Red Canoe 1987 Paris 1985 Harry the Dog 1983 Blue Lake 1987 Interferon 1989 Ross 1984.Vancouver, University of British Columbia Fine Arts Gallery, Strange Ways, Here We Come: Felix Gonzalez-Torres and Donald Moffett, Nov.Red Canoe 1987 Paris 1985 Blue Flowers 1984 Harry the Dog 1983 Blue Lake 1986 Interferon 1989 Ross 1983.An Installation by Felix Gonzalez-Torres as Part of the Visual AIDS Program, Dec. Reference Number 2002.80 Copyright © The Felix Gonzalez-Torres Foundation. Douglas Jr., Carla Emil and Rich Silverstein, Collectors Forum, Doris and Don Fisher, Niko and Steve Mayer, Elaine McKeon, and Danielle and Brooks Walker Jr. Gerber Memorial endowments and the San Francisco Museum of Modern Art, Accessions Committee Fund Purchase: gift of Jean and James E. Blair Prize, Muriel Kallis Newman, Sara Szold and Modern and Contemporary Discretionary funds Samuel and Sarah Deson and Oscar L. ![]() (circa) or BCE.ġ989–5000001 Medium Paint on wall Dimensions Dimensions vary with installation Credit Line The Art Institute of Chicago, bequest of Carolyn Spiegel Watson F. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. Status On View, Gallery 293 Department Contemporary Art Artist Felix Gonzalez-Torres Title "Untitled" Place United States (Artist's nationality) Dateĭates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Its owner is obliged to consider adding (or subtracting) events, including ones subsequent to the artist’s death, ensuring that it remains relevant and dynamic. ![]() “Untitled” can change each time it is installed and may be presented in an infinite variety of ways. ![]() By offering clues to a personal history in a commemorative form normally dedicated to institutional use, Gonzalez-Torres undercuts the public and official in favor of the private and subjective, reminding us that an individual’s identity is not always reducible to an image captured on canvas or etched in marble. Such an installation is reminiscent of traditional friezes carved on the faces of public architecture, including the facade of the Art Institute’s 1893 Allerton Building, which includes artists’ names chiseled into a horizontal band. The portrait joins historical events and enigmatic personal milestones into a running text placed close to the ceiling. First realized in 1989, the work expanded with subsequent installations until the artist’s premature death in 1996, and can continue to shift in ongoing manifestations. One of the defining moments in his widely influential career, “Untitled” can be considered a self-portrait in the form of words and dates. Felix Gonzalez-Torres’s work is consistently characterized by a sense of quiet elegy.
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