And we also have to trust the viewer and trust the power of the object.
And the power is in simple things
I like the kind of clarity that that brings to thought.
It keeps thought from being opaque.

- Felix Gonzalez-Torres

"Untitled" (The End) 1990

"Love gives you the space and the place to do other work. Once that space is filled, once that space was covered by Ross, that feeling of home, then I could see, then I could hear. One of the beauties of theory is when you can actually make it into a practice."



"How can you be feeling if you’re not in love? You need that space, you need that lifting up, you need that traveling in your mind that love brings, transgressing the limits of your body and your imagination. Total transgression."



"No, the year before he got the diagnosis of AIDS he had his appendix removed and they tested the blood and it was HIV positive. But he was a fucking horse. He was 195 pounds, he could build you a house if you asked him to. It’s amazing, I know you’ve seen it the same way I’ve seen it, this beautiful, incredible body, this entity of perfection just physically, thoroughly disappear right in front of your eyes."



"And that’s the problem I have with the sensational, literal pieces. I’m Brechtian about the way I deal with the work. I want some distance. We need our own space to think and digest what we see. And we also have to trust the viewer and trust the power of the object.

And the power is in simple things. I like the kind of clarity that that brings to thought. It keeps thought from being opaque."









all text from 1995 BOMB
a conversation between
Felix Gonzalez-Torres and Ross Bleckner.






---------------------

double
loss.
a.k.a.
feeling
the loss
already.

more
here.....
and
here...

Richard Serra
Gagosian, 2010


Throughout his career, Serra has made drawings not as precursors to sculptural works, but as separate, immediate, and fundamental lines of investigation, translating intentions into marks. His drawings are explorations in their own right, integral to the overall concerns of his sculptural practice, and unique intuitive explorations within their own established criteria.

Serra began working on Greenpoint Rounds in late spring of 2009. In these large-scale works which each measure 80 inches square, a large black circle is embedded in the surface of the heavy paper. Serra uses paint-stick, heating it to a viscous and sometimes fluid state. He slowly builds up the dense and irregular form so that each drawing has its own unique surface that appears as a palpable structure rather than a mere surface. Each drawing exerts a vastly different energy and exudes a singular character.












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