One of Mexico’s most famous contemporary artists, Gabriel Orozco transforms everyday objects and base materials into poetic works of art.
A sculptor who not only makes 3D works, but also paintings, photos, prints, and videos that visually manipulate form, Orozco has elevated yogurt caps, soccer balls, and shoe boxes to coveted museum pieces. His split cars, combined bicycles, and penciled bones kick Duchamp’s provocative idea of an altered readymade up a notch.
View Orozco’s gallery page, read an insightful interview, learn more about his work on Art:21, catch his current MoMA retrospective, and buy the exhibition catalogue
Gabriel Orozco, Atomist: Making Strides, 1996, Gouache and ink on newspaper clipping, 8 ¼ x 8 ¼” (20.9 x 20.9 cm), Courtesy of Marian Goodman Gallery, New York, Photo credit: John Berens, © 2009 Gabriel Orozco
Gabriel Orozco, Eyes Under Elephant Foot, 2009, Beaucarnea trunk and glass eyes, 57 7/8 x 56 7/8 x 55 1/8” (147 x 144.5 x 140 cm), Charpenel Collection, Guadalajara, Mexico, ©2009 Gabriel Orozco
Gabriel Orozco, Black Kites, 1997, Graphite on skull, 8 ½ x 5 x 6 ¼” (21.6 x 12.7 x 15.9 cm), Philadelphia Museum of Art, Gift (by exchange) of Mr. and Mrs. James P. Magill, 1997, ©2009 Gabriel Orozco
Gabriel Orozco, Four Bicycles (There Is Always One Direction), 1994, Bicycles, 6’6” x 7’4” x 7’4” (198.1 x 223.5 x 223.5 cm), Carlos and Rosa de la Cruz Collection, ©2009 Gabriel Orozco
Gabriel Orozco, Horses Running Endlessly, 1995, Wood, 3 3/8 x 34 3/8 x 34 3/8
Gabriel Orozco, Island Within an Island, 1993, Silver dye bleach print, 16 x 20” (40.6 x 50.8 cm), Edition of 5 Courtesy of Marian Goodman Gallery, New York, © 2009 Gabriel Orozco
Gabriel Orozco, Kytes Tree, 2005, Synthetic polymer paint on canvas, 6’ 6 ¾” x 6’ 6 ¾” (200 x 200 cm), The Museum of Modern Art, New York, Purchase and gift of Anna Marie and Robert F. Shapiro and Donald B. Marron, Photography: The Museum of Modern Art, New York, Department of Imaging Services, © 2009 Gabriel Orozco
Gabriel Orozco, La DS, 1993, Modified Citroën DS, 55 3/16” x 15’ 9 15/16” x 45 5/16” (140.1 x 482.5 x 115.1 cm), Fonds national d’art contemporain (Cnap), Ministère de la Culutre et de la Communication, Paris, Fnac 94003, Photography: Florian Kleinefenn, ©2009 Gabriel Orozco
Gabriel Orozco, My Hands Are My Heart, 1991, Two silver dye bleach prints, Each 9 1/8 x 12 ½” (23.2 x 31.8 cm), Courtesy of Marian Goodman Gallery, New York, © 2009 Gabriel Orozco
Comments (7)
I saw this exhibit at MOMA a couple of weeks ago and had a love it/ hate it reaction. The sculptures were MUCH better than the paintings, which did nothing for me at all. This page is a good representation of the best of the work shown. As far as yogurt caps nailed to the wall and an empty shoebox on the floor? Give me a break.
There is several problems with “appropriation” geared toward everyday objects, especially in student work. The exploration of the ‘abject’ has also been over done. Artists ( often students) try to combine the two and it is not always successful or effective on a visceral ( or even a conceptual) level. I agree with the yogurt caps and shoebox.
look beyond the art and consider the idea. the empty shoebox is about empty space filling empty space. a form of turning the gallery system on its head. look at “home run”. brilliant, but when you say it just oranges, well, thats more of a representation of the scope of your sight.
> a form of turning the gallery system on its head
Please. Duchamp dealt with all of this nearly a century ago.
The Orozco show is a terrible waste of gallery space.
> look beyond the art and consider the idea
The problem with that is, the ideas are very, very small and rather uninteresting. If you are going to be a conceptual artist, HAVE BETTER CONCEPTS.
[...] via Flavorwire.com [...]
[...] Gabriel Orozco is a Mexican artist. Not like Frida Kahlo though. His stuff is actually nice to look at. Thought provoking good compositions. I found him though an interactive exhibit on MoMA’s website. The use of everything is compelling. From sketchbooks, to paintings, to found object, to sculpture (and beyond?) Anyways. [...]
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