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Output details

34 - Art and Design: History, Practice and Theory

University College London : A - History of Art

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Output 24 of 63 in the submission
Title and brief description

Gabriel Orozco: thinking in circles

Type
M - Exhibition
Venue(s)
Fruit Market Gallery
Year of first exhibition
2013
URL
-
Number of additional authors
0
Additional information

Portfolio: This output is a curatorial project consisting of an exhibition and the following components:

1. Single authored monograph Gabriel Orozco: Thinking in Circles published by Fruitmarket Gallery Edinburgh 2013, ISBN-978-1-908612-23-6. 141 pages. The book includes a 4 page insert of installation photographs.

2. Dossier published by the Fruitmarket Gallery, comprising data on visitor numbers, press etc..

3. Film of Fer interviewing the artist, on show in the exhibition and for sale.

4. Package of additional installation photographs and exhibition floor plan.

Briony Fer was the sole author of the monograph produced to coincide with the exhibition Gabriel Orozco: Thinking in Circles which opened at the Fruitmarket Gallery in the Edinburgh International Art Festival, July 2013. She conceived and curated the exhibition, consisting of many works never before seen in public from the artist’s own collection, and interviewed the artist for a film on show in the exhibition. The book and exhibition represent the culmination of Fer’s long-term engagement with Orozco’s work including essays for major exhibitions at the Serpentine Gallery (2004), the Museum of Modern Art New York (2009). Fer brought to light for the first time works on paper that showed the artist’s drawing and thinking processes as well as eight major works on acetate from the mid-90s that had never been shown before. The book submitted here is the first focused monograph in English (as opposed to exhibition catalogue) on the artist to provide a synthetic account of Orozco’s work from the 90s to the present. In addition to the ideas outlined above, Fer also deliberately sets out to reassess the art of the nineties by setting aside received accounts of ‘relational aesthetics’ in order to show that key problems in abstraction were already on the agenda for radical artists in the early years of that decade.

Interdisciplinary
-
Cross-referral requested
-
Research group
None
Proposed double-weighted
No
Double-weighted statement
-
Reserve for a double-weighted output
No
Non-English
No
English abstract
-