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"Untitled" (March 5th) #2

Location

Description

Cuban-born artist Felix Gonzalez-Torres's sculptural installations are imbued with details of his life. On March 5, 1991, he lost his partner Ross Laycock to an AIDS-related death. In this work, Gonzales-Torres conjures a couple through a pair of gradually extinguishing lightbulbs, an artwork that quietly commemorates his partner's passing and makes a larger reference to the AIDS epidemic. Gonzalez-Torres's own premature death due to AIDS five years later adds an additional narrative dimension to the work: viewers bear witness to both artist and partners' lives and losses through the two nestling bulbs hanging from entwined cords.

Exhibition history

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The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

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# data[].attributes.attachment_link.description
Location Cuban-born artist Felix Gonzalez-Torres's sculptural installations are imbued with details of his life. On March 5, 1991, he lost his partner Ross Laycock to an AIDS-related death. In this work, Gonzales-Torres conjures a couple through a pair of gradually extinguishing lightbulbs, an artwork that quietly commemorates his partner's passing and makes a larger reference to the AIDS epidemic.

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Untitled

Description

Joel Shapiro works with a concentrated, sleek geometric vocabulary that can be seen as both figurative and abstract. In this composition he attached two projecting elements to a larger rectangular form, suggesting a human torso with extended legs. From one angle, the sculpture resembles a figure kicking its foot up or leaning forward in an energetic sprint; another view implies a body in a static moment of balance in midair, like a ballet dancer. Shapiro first created this composition in wood, assembling the dynamic form from pieces of timber that were cut and joined together. The sculpture was then cast in bronze. The texture and grain of the original wood are visible on the surface of the metal

Exhibition history

CMA, 1990: "Year in Review 1989," CMA Bulletin 77 (Feb., 1990), p. 68, cat. no. 55, repr. cover and p. 64

MOCA Cleveland (6/9/2006 - 8/20/2006): "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", no. 129, p. 123, color repr. p. 116.

The Year in Review for 1989. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-April 15, 1990).

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The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

Is something not working on this page? Please email help.website@clevelandart.org.

Request a digital file from Image Services that is not available through CC0, a detail image, or any image with a color bar. If you have questions about requesting an image, please email imageservices@clevelandart.org.

# data[].attributes.attachment_link.description
Joel Shapiro works with a concentrated, sleek geometric vocabulary that can be seen as both figurative and abstract. In this composition he attached two projecting elements to a larger rectangular form, suggesting a human torso with extended legs.

# data[].attributes.attachment_link.readable_text
The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

Is something not working on this page? Please email help.website@clevelandart.org.

Request a digital file from Image Services that is not available through CC0, a detail image, or any image with a color bar. If you have questions about requesting an image, please email imageservices@clevelandart.org.

# data[].attributes.attachment_link.description
The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA.

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Late Roman Painting: Burnt Green Earth Tint

Location

Provenance

Artist; Charlotte Jackson Fine Art, Santa Fe, 1997; Rosalie and Morton Cohen; The Cleveland Museum of Art

Exhibition history

New French Paintings at Charlotte Jackson Gallery, Santa Fe, New Mexico, 1997

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See also

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The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

Is something not working on this page? Please email help.website@clevelandart.org.

Request a digital file from Image Services that is not available through CC0, a detail image, or any image with a color bar. If you have questions about requesting an image, please email imageservices@clevelandart.org.

# data[].attributes.attachment_link.title
Late Roman Painting: Burnt Green Earth Tint

# data[].attributes.attachment_link.description
Location Provenance Artist; Charlotte Jackson Fine Art, Santa Fe, 1997; Rosalie and Morton Cohen; The Cleveland Museum of Art Exhibition history New French Paintings at Charlotte Jackson Gallery, Santa Fe, New Mexico, 1997 Cite this page See also The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete.

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Art, in my opinion, can be anything as long as it means or represents something. For example, if someone took a canvas and painted a big white line, and a very small black line and stated that it represents the struggles POC (People Of Color) go through, I would classify that as Art. To be considered as art, in my eyes, something that you make must have some sort of meaning. This only applies to works that the artist put little to no effort into. If an artist paints a giant portrait that has no meaning or representation I would still see that as art because the artist put effort into it. 

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Art, in my opinion, can be anything as long as it means or represents something. For example, if someone took a canvas and painted a big white line, and a very small black line and stated that it represents the struggles POC (People Of Color) go through, I would classify that as Art. To be considered as art, in my eyes, something that you make must have some sort of meaning. This only applies to works that the artist put little to no effort into. If an artist paints a giant portrait that has no meaning or representation I would still see that as art because the artist put effort into it. 