Felix Gonzalez-Torres (American, b. Guáimaro, Cuba 1957, d. Miami, Florida 1996) began his art studies at the University of Puerto Rico before moving to New York City in 1979, where he attended the Whitney Independent Study Program, first in 1981 and again in 1983. He received his BFA from Pratt Institute, New York, in 1983 and his MFA from the International Center of Photography and New York University in 1987.Read More
From 1987 to 1991, Gonzalez-Torres was a part of the artist collective Group Material, whose collaborative, politically-informed practice focused on community engagement and activist interventions. In 1988, he had his first one-man exhibitions, at the Rastovski Gallery, New York, INTAR Gallery, New York, and the New Museum of Contemporary Art, New York. His earliest billboard work, Untitled, 1989, was installed at New York's Sheridan Square on the occasion of the twentieth anniversary of the Stonewall Rebellion. In 1990, a solo presentation of Gonzalez- Torres's work served as the inaugural exhibition of the Andrea Rosen Gallery, New York.
Felix Gonzalez-Torres: Traveling, a survey of the artist's work, was presented at the Museum of Contemporary Art, Los Angeles, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., and the Renaissance Society at the University of Chicago in 1994. In 1995, the Solomon R. Guggenheim Museum, New York, organized an international traveling retrospective of his work. The artist participated in numerous group shows during his lifetime, including early presentations at Artists Space and White Columns in New York (1987 and 1988, respectively), the Whitney Biennial (1991), the Venice Biennale (1993), and the San Francisco Museum of Modern Art and the Art Institute of Chicago (both 1995).
Gonzalez-Torres died in 1996 from AIDS-related complications. In 1997, the Sprengel Museum Hannover, Germany, organized a traveling posthumous solo exhibition and published a catalogue raisonné of the artist's work. Further solo exhibitions of his work were held at such institutions as The Art Gallery of South Australia, Adelaide, 1998; The Douglas Hyde Gallery, Dublin, 1999–2000; El Museo Nacional de Artes Visuales, Montevideo, Uruguay, 2000–2001; Serpentine Gallery, London, 2000; Le Consortium, Dijon, 2002; and Hamburger Bahnhof, Museum für Gegenwart, Berlin, 2006. In 2007, Gonzalez-Torres was selected to represent the United States at the 52nd Venice Biennale.
More recently, in 2010-2011, WIELS Contemporary Art Center, Brussels, organized a six-part traveling retrospective, Felix Gonzalez-Torres: Specific Objects without Specific Form, which was also presented at the Fondation Beyeler, Basel, and Museum für Moderne Kunst, Frankfurt. At each institution, Elena Filipovic curated a retrospective version of the exhibition which was reconsidered midway through its run by a collaborating artist-curator: Danh Vo, Carol Bove, and Tino Sehgal, respectively. Further exhibitions devoted to the artist's work have been held at PLATEAU and Leeum, Samsung Museum of Art, Seoul, South Korea, 2012; Metropolitan Arts Centre, Belfast, Northern Ireland, 2015; and Rockbund Art Museum, Shanghai, China, 2016.
Text courtesy David Zwirner.
This week's need-to-know art news, including the collapse of Sydney's Carriageworks, the winner of the Pulitzer-prize for criticism, and relaxed Kickstarter rules for institutions.
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There are only two lines of text on the pitch-black billboard Felix Gonzalez-Torres debuted in 1989, but every word bears the weight of LGBTQ history: _People With AIDS Coalition 1985 Police Harassm
As I missed out on international art events this season because New York is so far away, all I could think of was how unlucky their curators are. You work on Venice or Documenta for a year or two or f