Throughout his work, Gonzalez-Torres (American, born Cuba. 1957–1996) questioned the notion of the unique art object, making series of works based on identical pairs (two clocks ticking side-by-side, two mirrors embedded in a wall) or finding inspiration in the possibilities of endless reproducibility (stacks of sheets as give-aways for visitors, piles of candy to be continually replenished). (MoMA)
I had studied Gonzalez-Torres’ work at University and was fascinated by his approach to art making. It’s quite funny watching people unfamiliar with his work look on in horror as others remove pieces of the artwork and then walk out of the museum. What many people don't realize, and what makes Gonzalez-Torres' work so interesting, is that the pieces are designed to be touched and yes, taken home with you.
Gonzalez-Torres wanted his work to be disseminated, to exist in unlimited, multiple places at the same time, and to be realized completely only through the participation of the viewer, which he described as “one enormous collaboration with the public,” in which the “pieces just disperse themselves like a virus that goes to many different places—homes, studios, shops, bathrooms, whatever.” FGT
In 1992 critic Anne Umland imagined the future reception of his work, writing ‘a photograph promises the possibility of replication, of reemergence in a different time and under different historical circumstances, a moment when this poignant image may come to mean very different things.” I look forward to seeing the next iteration of this idea within painting and drawing!
Reproducibility, collaboration, circulation and accessibility — we have reinterpreted Gonzalez Torres’ vision and incorporated his concepts into our practice at TWFineArt. We are playing with his ideas, reproducing the once unique, financially unattainable art object and in the process we aim to break down the gallery/museum experience. Great art can and should be for everyone – All for Art & Art for All.
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There is a respect that street artists have for their environment and their fellow artists. Not only do they consider the aesthetics of the building's facade and it's surroundings when adding their work, they consider the art of the person that has gone before. There is an unspoken law, if it's good it stays, if it's passe' it'll be painted over. These walls are a collaboration between artists, the city and nature.
New York City is an urban jungle and within it, there is an inherent respect for an art culture that is derived from city life. What some of us call vandalism others call art. Real street art works in harmony with it's environment and compliments the beauty of the city that serves as its canvas. New Yorkers embrace 190 Bowery and despite the disneylandification of Manhattan, this building stands strong - an evolving cultural icon and one of those things that makes New York City the city of all cities.
Spot the Tony DePew piece in the third image.
