GENERAL DESCRIPTION
When viewers come across this work in a gallery, they might not realize these enigmatic objects are not part of a worksite, but in fact form a work of art. Gabriel Orozco had masons cut a plaster wall in his Paris gallery into numerous parts. He then drew precise graphite circles on these parts that just touch their irregular edges, and placed the pieces on the gallery floor to lean against the walls. Orozco's action challenges notions of how a work of art is made, yet also follows a line of thought in contemporary sculpture. This is the notion that the work of art, rather than being a solid, defined object, can be literally dispersed throughout the spaces of the museum. Sculpture has taken on new forms that can suggest simultaneously the act of creation as well as the dissolution of matter itself.
Adapted from
- "Inner Circles of the Wall" in Dallas Museum of Art: A Guide to the Collection, ed. Bonnie Pitman (Dallas: Dallas Museum of Art; New Haven and London: Yale University Press, 2012), 344.
- Charles Wylie, Gabriel Orozco: Inner Circles of the Wall, Brochure, 2007.
NOTES
Exhibitions: Gabriel Orozco: Inner Circles of the Wall; ID: 11767; TMS ID: 332
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RELATED OBJECTS
PROVENANCE
Until 2007: Gabriel Orozco
2007: The Dallas Museum of Art, The Rachofsky Collection, The Rose Collection (owned jointly) purchased through Galerie Chantal Crousel, Paris, France [1]
[1] See the Co-Tenancy Agreement in the Collections Records object file
AUDIO ASSETS
Listen to an interview between Gabriel Orozco and Charles Wylie, 264296011: UMO
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
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apply to objects where number equals 2007.54.a-vv
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General Description
When viewers come across this work in a gallery, they might not realize these enigmatic objects are not part of a worksite, but in fact form a work of art. Gabriel Orozco had masons cut a plaster wall in his Paris gallery into numerous parts. He then drew precise graphite circles on these parts that just touch their irregular edges, and placed the pieces on the gallery floor to lean against the walls. Orozco's action challenges notions of how a work of art is made, yet also follows a line of thought in contemporary sculpture. This is the notion that the work of art, rather than being a solid, defined object, can be literally dispersed throughout the spaces of the museum. Sculpture has taken on new forms that can suggest simultaneously the act of creation as well as the dissolution of matter itself.
Adapted from
- "Inner Circles of the Wall" in Dallas Museum of Art: A Guide to the Collection, ed. Bonnie Pitman (Dallas: Dallas Museum of Art; New Haven and London: Yale University Press, 2012), 344.
- Charles Wylie, Gabriel Orozco: Inner Circles of the Wall, Brochure, 2007.
Fun Facts
Archival Resources
Web Resources
Notes
Exhibitions: Gabriel Orozco: Inner Circles of the Wall; ID: 11767; TMS ID: 332
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 2007: Gabriel Orozco
2007: The Dallas Museum of Art, The Rachofsky Collection, The Rose Collection (owned jointly) purchased through Galerie Chantal Crousel, Paris, France [1]
[1] See the Co-Tenancy Agreement in the Collections Records object file
AUDIO ASSETS
Listen to an interview between Gabriel Orozco and Charles Wylie, 264296011: UMO
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2007.54.a-vv
source file
object_notes_2_d-0282.xml.nores