Known for - and even overshadowed by - his brutal and spectacular building cuts, Gordon Matta-Clark's oeuvre is unique in the history of American art. He worked in the 1970s on the boarders between art and architecture and his diverse practice is often understood as an outright rejection of the tenets of high modernism. Stephen Walker argues instead for the artist's ambivalent relationship with the architectural heritage he is often claimed to disavow, thus making this the first book to extrapolate Matta-Clark's thinking beyond its immediate context.Walker considers the broad range of Matta-Clark's ephemeral practice, from montage to actual interventions and from performance art and installation to drawing, film and video. Bringing to the fore the consistent themes and issues explored through this broad range of media, and in particular the complex notion of the 'discreet violation', he reveals the continued relevance of Matta-Clark's artistic and theoretical oeuvre to the reception of artistic and architectural work today.

Do you wish you could start a money-making physical therapy business today ... without resorting to the ongoing hassle of insurance?Are you tired of billing insurance for every last penny? Do you wish you could get paid faster, and for more interesting clients? Do you want to help people without all that red tape?Well, now you can. With Danny Matta's new book, F*ck Insurance: Your Playbook to A Successful Performance PT Practice and Never Having to Deal with Insurance Again, you'll get all the tools you need to create the job of your dreams.After all, if you can't find a career you love, you'll have to build one yourself. This prime tenet is what motivated Matta to pen his irreverent text. With gritty, raw, proven and actionable advice, he shows physical therapists how to have success in a pratice model that doesn't take insurance at all and attract the clients they really want to serve.Inside this book, you'll learn: -Which segment of the population makes for the most satisfying physical therapy clients-How Matta built his own business in just a few years and now sees incredible results, both financially and client-wise-How to avoid high-volume, corporate insurance mills-The secret behind climbing to higher and higher levels of income each month-The 5 phases of the cash performance PT clinic-Whether you're a burn-the-ships or a side-hustle kind of person-What the proof-of-concept phase is, and what it means for you-What the survival phase is, and why "survival" isn't a bad thing-What the success phase is, and how you can achieve it as quickly as possible-What your revenue level says about your business model-The surprisingly obvious mindset shift you need to make your dreams come true-Which mistakes you're likely to make, and why that doesn't matter-How to build a team without selling out or going broke-What freedom really looks like ... and why you deserve it-How to tell insurance to f*ck off and see incredible results immediatelySo who is Danny Matta to give this advice? He's a former Army Physical Therapist turned entrepreneur. One fateful morning, he sat in his car questioning if he wanted to be a PT anymore. Burned out by an incredibly high volume of patients and endless documentation, he decided to leave his career as a PT in the Army. Knowing nothing about business, he dove headfirst into starting a cash-based PT clinic in a windowless room in the corner of a CrossFit gym. Guess what? It worked out. Today, Matta not only serves his dream clients, he sees incredible revenue, employs a happy team of fellow PTs and enjoys the freedom of which he once only dreamed.You can do it too.So don't wait. Buy this book NOW to build the happier, healthier, stronger business you've always known you could have.

An essential reference that provides new understanding of the thought processes of one of the most radical artists of the late twentieth century. Gordon Matta-Clark (1943–1978) has never been an easy artist to categorize or to explain. Although trained as an architect, he has been described as a sculptor, a photographer, an organizer of performances, and a writer of manifestos, but he is best known for un-building abandoned structures. In the brief span of his career, from 1968 to his early death in 1978, he created an oeuvre that has made him an enduring cult figure. In 2002, when Gordon Matta-Clark’s widow, Jane Crawford, put his archive on deposit at the Canadian Centre for Architecture in Montreal, it revealed a new voice in the ongoing discussion of artist/architect Matta-Clark’s work: his own. Gwendolyn Owens and Philip Ursprung’s careful selection and ordering of letters, interviews, statements, and the now-famous art cards from the CCA as well as other sources deepens our understanding of one of the most original thinkers of his generation. Gordon Matta-Clark: An Archival Sourcebook creates a multidimensional portrait that provides an opportunity for readers to explore and enjoy the complexity and contradiction that was Gordon Matta-Clark.

In The Christology of Karl Barth and Matta al-Miskīn, Hani Hanna argues that two of the most renowned theologians of the twentieth century, Karl Barth and Matta al-Miskīn (Matthew the Poor), redefine the reality of God and humanity christologically in similar ways. Both theologians achieve this redefinition using historical rubrics that are closer to Scripture than the traditional metaphysical categories borrowed from Greek philosophy. Rooted in their respective Reformed and Coptic Orthodox traditions, their works can be placed in a dialogue that takes into account modern concerns about history, revelation, and human agency. By providing an in-depth analysis of both men’s christologies, Hanna also finds that Barth and Matta’s christological view of reality has implications for interfaith and intercultural dialogues today.

Bringing a poet’s perspective to an artist’s archive, this highly original book examines wordplay in the art and thought of American artist Gordon Matta-Clark (1943–1978). A pivotal figure in the postminimalist generation who was also the son of a prominent Surrealist, Matta-Clark was a leader in the downtown artists' community in New York in the 1970s, and is widely seen as a pioneer of what has come to be known as social practice art. He is celebrated for his “anarchitectural” environments and performances, and the films, photographs, drawings, and sculptural fragments with which his site-specific work was documented. In studies of his career, the artist’s provocative and vivid language is referenced constantly. Yet the verbal aspect of his practice has not previously been examined in its own right. Blending close readings of Matta-Clark’s visual and verbal creations with reception history and critical biography, this extensively researched study engages with the linguistic and semiotic forms in Matta-Clark’s art, forms that activate what he called the “poetics of psycho-locus” and “total (semiotic) system.” Examining notes, statements, titles, letters, and interviews in light of what they reveal about his work at large, Frances Richard unearths archival, biographical, and historical information, linking Matta-Clark to Conceptualist peers and Surrealist and Dada forebears. Gordon Matta-Clark: Physical Poetics explores the paradoxical durability of Matta-Clark’s language, and its role in an aggressively physical oeuvre whose major works have been destroyed.

Documenting the artist’s extraordinary accomplishments as a draftsman, this publication originates from the 2015 solo presentation at David Zwirner, New York, entitled Energy & Abstraction, organized in close collaboration with Jane Crawford and Jessamyn Fiore from the Estate of Gordon Matta-Clark. Well known for his radical “anarchitectural” interventions throughout the 1970s, Gordon Matta-Clark was always deeply, though less publicly, committed to drawing. His works on paper—which span three-dimensional reliefs, calligraphy, and notebook entries—capture the interdisciplinary spirit that defined the art world in the 1970s. Intricate and concise, they testify to his interest in the crossovers between visual and performance arts, as well as the broader integration within his oeuvre of the natural and built environment. This catalogue presents in vibrant detail selections from Matta-Clark’s Cut Drawings, Energy Rooms, Energy Trees, and his own “calligraphy,” many of which have never been published. Perhaps the best known of the group, the Cut Drawings explore parallel, smaller-format versions of his physical interventions in architecture; slicing meticulously through several layers of paper, gesso, or cardboard, Matta-Clark created sculptural flat works that emphasized the voids created by the extraction of matter. Drawings with his own “calligraphy” emphasize the medium of drawing as an independent form. Abstract letters make up a code that remains indecipherable, but points toward a visionary longing to invent new languages and structures of experience. Some of the most elaborate and colorful compositions include trees, several of which refer explicitly to Matta-Clark’s Tree Dance performance at Vassar College in upstate New York in 1971. In full-color plates, the reader can see the physical structure of his trees “dissolving” into kinetic energy and, in some drawings, becoming reduced to a multitude of arrows. Near-abstract tree shapes also incorporate his calligraphic marks, with branches constructed from imaginary letters, again emphasizing the importance of language to a new visual experience. Matta-Clark’s notebooks, which he often insisted on completing in a single sitting, are presented in elegantly curated groups. Combining elements of Surrealist automatic drawing with an interest in choreography, these works appealed to performance artists at the time—including Laurie Anderson and Trisha Brown. This unparalleled presentation of Matta-Clark’s drawings is accompanied by new and exciting scholarship by Briony Fer, as well as a conversation between Jessamyn Fiore and contemporary artist Sarah Sze; it marks a major contribution to the literature on this highly influential artist.