Gordon Matta-Clark, Tina Girouard and Suzanne Harris
By Jason Foumberg
Jessamyn Fiore never met Gordon Matta-Clark, but he has always been part of her life. “I grew up in a loft that my mother and Gordon had converted from a factory building,” in downtown New York City, says Fiore. “We had his art around. His family was like my family. His friends were like my friends.” Matta-Clark died in 1978, and two years later Fiore was born to his widow, Jane Crawford. “Once Gordon passed away, my mother devoted her life to his work and his legacy,” says Fiore.
Although Matta-Clark was just thirty-five when cancer ended his life and his prolific art career, the art world wasn’t ready to sweep him into the dustbin of art history. And we still haven’t—no doubt due, in part, to the hard work of caring for his estate, a tremendous task that Crawford and Fiore now share, as of last year.
As co-director of the estate, Fiore, thirty-two, has not simply inherited the wealth of an important artist; Fiore has what she calls a “creative relationship” with Matta-Clark’s legacy, as if he were her art-father, his ideals about art and community fostering her own belief system.
Fiore’s story is fascinating because it reveals how an artist’s reputation is sustained, in our modern curriculum and imagination. It is not simply that a powerful dealer releases major artworks into the market at strategic moments; the legacy of an artist like Matta-Clark stays alive because an advocate like Fiore works to connect the core values of his artwork with those that are relevant to today’s artists. Fiore identifies a spirit of collaborative artistic empowerment in the work of Matta-Clark and his peers that resonates with today’s artist-centric art world.
“What is the role that friendships play within an artistic community, and within an artist’s practice?” asks Fiore. She has expanded her inquiry beyond Matta-Clark to look at 112 Greene Street, a live-and-work art center in a converted factory building, known by its street address, that incubated New York City’s political, post-minimal, feminist, performance and experimental art in the seventies. Read the rest of this entry »