Felix Gonzalez-Torres, "Untitled," 1991

Felix gonzalez-torres, "Untitled," 1991

"Untitled" by Felix Gonzalez-Torres in 1991 was an image featured on a series of billboards, 24 of them to be exact. The billboards popped up all over the New York area, all of them focusing on the same picture. (11th Ave/38th St, Manhattan, NY)

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By: Sebastianarose Ombrellino, Orientation in Art - 1

Units

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Unit 1: Who was felix gonzalez-torres?

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Unit 2: What did his art represent?

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Unit 3: How could it have been improved?

Unit 1

Who was Felix Gonzalez-Torres?

Felix Gonzalez-Torres was a Cuban artist who created visual artworks to provoke thought, he specifically encouraged viewers to come up with their own interpretations of his works and find personal connection. More often than not, Gonzalez-Torres left his artworks untitled, this was to leave the piece up for interpretation as well, Gonzalez-Torres was a strong believer in the right to an individual experience. Much of his works explore themes of loss, love, time, identity, politics, and memory, which are often interconnected. His personal experiences play a large role in his artworks as well, especially after the loss of his partner, Ross Laycock, to AIDS. Some of his other notable works include “Untitled” (Perfect Lovers) and “Untitled” (A Portrait of Ross in L.A.).

31st St/ditmas Blvd, QUeens, NY

"Untitled" (Portrait of Ross in L.A.)

"Untitled" (Perfect Lovers)

What he looks like!!

Unit 2

What did his art represent/say?

As previously mentioned, Gonzalez-Torres drew a lot of inspiration from his personal life, this art installation is no different. The black and white photo of the empty, unmade bed with the imprints left behind by the heads still there creates an intimate image. For many people, however, it also creates a chilling image of people who are no longer there. Many believe that this piece was a direct response to the silence of the U.S. government during the AIDS epidemic. Instead of creating a confrontational or extremely political image, Gonzalez-Torres subtly and emotionally conveyed the impact of the epidemic through this unmade bed. The simplicity of the image creates a sort of silent but powerful protest against the marginalization and erasure of people affected by AIDS.

Delancey St/Allen St, Manhattan, NY

Smart History

The Felix Gonzalez-Torres Foundaation

+ info

Unit 3

How could it have been improved?

Personally, I think that this work was expertly executed, and it remains one of Gonzalez-Torres’ most celebrated works. The image's quiet power continues to resonate with audiences, often influencing other contemporary artists exploring similar themes. The reason the image is so powerful is because of Gonzalez-Torres’ ability to transform an everyday object into a profound statement on life and death. The work does not seek attention by being loud, but rather creates a very human image that lingers in the mind long after it’s been viewed. However, some people might find the lack of explicit context challenging, potentially limiting immediate understanding of the artwork's intent.

3rd ave/e 137th Street, Bronx, NY

MoMA

Fakewhale

More examples!!

Conclusion

How does Gonzalez-Torres' work relate back to the texts?

Gonzalez-Torres and Deller's perspectives on protest art exemplify how art can serve as a subtle yet powerful form of protest. The article emphasizes that protest art often compromises the “objects and the banners and the placards and things and the drawings,” highlighting the significance of everyday materials in conveying dissent. In a similar approach, Gonzalez-Torres uses a simple image of an unmade bed, this choice transforms a private scene into a public one, challenging viewers to confront common themes associated with the AIDS crisis. The article also notes that protest involves "people being unhappy with something…and maybe showing their unhappiness or disfatisfaction in public.” This is exactly what Gonzales-Torres’ billboards do, they disrupt the routine visual landscape which promotes passerbys to engage with the artworks underlying message. Overall, Gonzalez-Torres’ “Untitled” (1991) embodies the principles discussed by Jeremy Deller, showing how art can utilize everyday materials in public spaces to engage audiences in a profound, contemplative form of protest.

Did you know...

The 24 billboards correlate to the date Laycock died, 1-24-91, at the age of 32. Gonzalez-Torres himself would die of the same disease just 5 years later at the age of 38.