Marta Chilindrón
Argentina
View Gallery
Extract from “A Touch of Anguish (or two peas in a pod and a self-serving gourd). A Conversation Bewteen Manuel Hernández, Cuauhtémoc Medina & Thomas Glassford,” In: Cádaver Exquisitio: Thomas Glassford, Universidad Nacional Autónoma de Mexico, 2006 (…) The work relates to questioning beauty, lowering itself to the banal and simplistic, which really is the issue of taste because beauty is simply a word based on fashion and the dictates of fashion. In case of art, it’s connected to collecting. For example, I collect containers made from bull’s scrota. As a collector of objects, I try to deal with banality and take it a step backwards from the personal –from corporeal provocation. When, for example, I see and Aster, obviously speaking in respect to sterility in this extreme, for me it’s related to the gourd. (…) I’m into the surface texture and wear of everyday street life, the influence it has on society, how it becomes a passing image in time, the aspect of its defacing one’s contemporary positioning or historic presence. If one waits long enough, what seems defacing becomes classic. (…) Art is a code or a way of encoding these kinds of anguishing thoughts. There isn’t a day when we can stop thinking about art since there isn’t a day when we can stop thinking about the wrinkle that keeps growing –the one we hadn’t noticed before- or about the spot we’re in or the breakdown we’re feeling, about the anguish of realizing we’re forty-something years old.”
Traducido del inglés
Fragmento de “A Touch of Anguish (or two peas in a pod and a self-serving gourd). A Conversation Bewteen Manuel Hernández, Cuauhtémoc Medina & Thomas Glassford,” en: Cádaver Exquisitio: Thomas Glassford, Universidad Nacional Autónoma de Mexico, 2006 (…) La obra se relaciona con la cuestión de la belleza, rebajándose a lo banal y simplista, que es en realidad un problema de gusto porque la belleza es simplemente una palabra basada en la moda y lo que ésta dicta. En el caso del arte está ligada al coleccionismo. Por ejemplo, yo colecciono contenedores hechos de genitales de toro. Como coleccionista de objetos, intento considerar la banalidad y dar un paso atrás desde lo personal, desde la provocación corpórea. Cuando veo por ejemplo Aster, obviamente hablando sobre la esterilidad en este extremo, para mí está relacionada con el guaje. (…) Me interesan las texturas de las superficies y el deterioro de la vida urbana cotidiana, la influencia que tiene en la sociedad, cómo se convierte en una imagen que pasa en el tiempo, el aspecto de vandalizar nuestra postura contemporánea o presencia histórica. Si uno espera lo suficiente, lo que parece vandalizado se vuelve clásico (…) El arte es un código o una manera de codificar estas ansiedades. No hay día en el que dejemos de pensar sobre el arte porque no hay un día en el que dejemos de pensar en la arruga que sigue creciendo, la que no habíamos notado antes, o en el lugar en el que estamos o en la crisis que sentimos sobre la angustia de darnos cuenta que tenemos cuarenta y tantos años”.
Selected Biographical Information
Education / Training
- 1987: BFA, The University of Texas at Austin, USA.
Solo Exhibitions
- 2013: “SOLO Program: A Vision of Paradise”, ArtRio 2013, Rio de Janeiro, Brazil.
- 2011: “Pteridomania”, Sicardi Gallery, Houston, Texas, USA.
- 2010: “Xipe Totec”, Centro Cultural Universitario Tlatelolco, UNAM, Mexico City, Mexico.
- 2010: “Afterglow”, Museo Experimental El Eco, Mexico City, Mexico.
- 2008: “Implosion is Compulsory”, Quint Contemporary Art, San Diego, California, USA.
- 2008: “Between Earth and Sky”, Sicardi Gallery, Houston, Texas, USA.
- 2006: “Cadáver Exquisito”, Museo Universitario de Ciencias y Artes, MUCA, UNAM, Mexico City, Mexico.
- 2004: “Thomas Glassford”, Finesilver Gallery, San Antonio, Texas, USA.
- 2004: “Pleasure Garden”, OMR, Mexico City, Mexico.
- 2004: “Desdoblamientos”, Galeria Principal de La Escuela de Artes. UAEMéx, Toluca.
- 2004: “Thomas Glassford”, Arcaute Arte Contemporaneo, Nuevo León, Mexico.
Group Exhibitions
- 2013: “México Inside Out: Themes in Art Since 1990”, Modern Art Museum of Fort Worth, Fort Worth, Texas, USA.
- 2012: “Art Los Angeles Contemporary”, Quint Contemporary Art, USA.
- 2011: “¿Neomexicanismos? Ficciones identitarias en el Mexico de los ochento”, Museo de arte Moderno, Mexico City, Mexico.
- 2011: “Cimbra, formas especulativas y armados metafisícos”, Museo de arte Moderno, Mexico City, Mexico.
- 2011: “Cimbra, formas especulativas y armados metafisícos”, Museo de arte Moderno, Mexico City, Mexico.
- 2010: “Cosmopolitan Routes: Houston Collects Latin American Art”, MFAH, Houston, Texas, USA.
- 2010: “The Traveling Show y El Gabinete Blanco”, Fundación/Colección Jumex, Mexico City, Mexico.
- 2010: “Todo a Nada”, Museo Universitario de Arte Contemporáneo MUAC, Mexico City, Mexico.
- 2010: “Efecto Drácula/Comunidades en Transfromación”, Museo Universitario del Chopo, Mexico City, Mexico.
- 2009: “Hecho en casa: Una aproximación a las practicas objetuales en el arte mexicano contemporáneo”, Museo de Arte Moderno, Mexico City, Mexico.
- 2009: “Quint: Three Decades of Contemporary Art”, California Center for the Arts Museum, Escondido, California, USA.
- 2009: “Color Into Light: Selections from the MFAH Collection”, The Museum of Fine Arts, Houston, Texas, USA.
Publications
- 2008: Salum, Rose Mary. “A Conversation with Thomas Glassford,” Literal: Latin American Voices, 40-43.
- 2008: Coffey, Mary K. Thomas Glassford: Between Earth and Sky, Sicardi Gallery exhibition catalog, Houston, TX, January 19-March 15.
- 2006: Perea, Barbara. “Thomas Glassford: Caváder Exquisito,” ARTLIES Magazine, Issue 51, Summer.
- 2004: Johnson, Ken. “Thomas Glassford and Claudia Fernández: Construcción,” Art in Review, The New York Times, January 9.
- 2003: Latchin, Leila. Photographer, Andy Bettles. “Border Crossing,” *Wallpaper, April, 123-127
- 2002: Pincus, Robert. “Reverberations & Echoes,” San Diego Union-Tribune/Night & Day, April 18, 42.
- 2002: Jusidman, Yishai. “Thomas Glassford,” Artforum, February, 136-137
- 2001: Adams, Beverly and Roberts, Brady. Phoenix Triennial, Phoenix Art Museum exhibition catalog, Phoenix, AZ, 38-40.
- 1999: Oles, James. “Thomas Glassford,” Poliester, 40-45.
- 1999: Buentello-Olivo, Mélida. “Thomas Glassford,” Chromaform, University of Texas San Antonio Art Gallery exhibition catalog, San Antonio, TX, 28.
Collections
- Museum of Fine Arts, Houston, Texas.
- Televisa Collection, Mexico.
- Gelman Collection, Mexico.
- La Colección Jumex, Mexico.
- The Bruce and Diane Halle Collection.
- Museo Universitario de Ciencias y Artes, MUCA, Mexico.
- Collezione “La Gaia”, Italy.
- Montblanc International Collection.
- CIFO Foundation.
- Jerry I. Speyer Collection.
- Neeley Collection.
- Vergel Foundation.
- Associacao Beneficente Alzira Denise Hertzog da Silva, Brazil.
- Colección Valdemarín, Madrid, Spain.
- Museo Extremeño e Iberoamericano de Arte Contemporáneo, Bajadoz, Spain.
- Art Center / Istanbul, Borusan Center for Culture and Arts, Turkey.
- Richard E. Peeler Art Center, DePauw University, Greencastle, Indiana.
- Des Moines Art Center, Des Moines, Iowa.
Links
- Sicardi Gallery – Thomas Glassford
- Literal Magazine – A Conversation with Thomas Glassford
- Art This Week – Thomas Glassford
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- Thomas Glassford, “Partitura: Chartreuse”, 2007, Anondized aluminum with aniline dye, 39” x 54.5 x 2 ¼” (99.1 x 138.4 x 5.7 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Diatomes Stela: Blue/Green”, 2007, Lucite, broomsticks, metal (circle), 98” x 10” (250 x 25 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Still Life: Utopian Architecture Series”, 2007, Series: Utopian Architecture Series, Anondized aluminum, aniline, melamine, 47” x 15.5” x 20.5” (199.4 x 39.4 x 52.1 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Partitura: Brown 1”, 2001, Anondized aluminum with aniline dye. Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Dark Eyes”, 2008, Mixed media, 146” x 126” x 130” (371 x 320 x 330 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Untitled”, 2007, Paper, zippers, 14” x 20” (35.5 x 50.8 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Untitled”, 2008, Mixed media on paper with zippers, 14” x 20” (35.5 x 50.8 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Aster 125T5/4100 (black)”, 2001/2007, Fluorescent light, nickel over brass, electrical hardware, extension cord, ballast box, 49 3/8” x 49 3/8” x 49 3/8” (125 x 125 x 125 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Afterglow Hybrid Pendant 3”, 2010, Acrylic Plexiglas, anondized aluminum, 39” x 36” (99 x 91.4 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Xylem and Phloem”, 2011, Melamine cafeteria ware and mixed media, 10’ x 13” x 13” (25.4 x 33 x 33 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Stela: Multistripe”, 2007, Lucite, metal and broomsticks, 98 ½” x 23 ½” x 7 ¾” (250 x 60 x 20 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Untitled (Silver Mirror)”, 2010, Mirrored Plexiglas and anondized aluminum, 95.6” x 47.6” x 3” (243 x 121 x 7.7 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Red Distichous”, 2011, Mirrored Plexiglas and anondized aluminum, 45 ½” x 32 ½” x 2 ¾” (115.5 x 82.5 x 7 cm). Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Afterglow”, 2010, Anondized aluminum, acrylic, concrete, polyvinyl tubing, water and dye, Variable dimensions. Courtesy of artist and Sicardi Gallery
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- Thomas Glassford, “Untitled”, 2012, Mirrored Plexiglas and anondized aluminum, 46.5” x 32.7” x 2” (118 x 83 x 5 cm). Courtesy of artist and Sicardi Gallery