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"Untitled" (Double Portrait)

© 1991 The Felix Gonzalez-Torres Foundation

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

© 1991 The Felix Gonzalez-Torres Foundation

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

Felix Gonzalez-Torres

American, born Cuba, 1957-1996

"Untitled" (Double Portrait), 1991

offset print on paper (endless supply)

stack (ideal height): 10 1/4 inches (26.03 cm); each (sheet): 39 3/8 x 25 1/2 inches (100.01 x 64.77 cm)

Collection Albright-Knox Art Gallery, Buffalo, New York

Purchased jointly by Albright-Knox Art Gallery, Buffalo and Tate, London, 2010 [See provenance for full credit line]

P2010:3

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Provenance

Credit Line: Purchased jointly by Albright-Knox Art Gallery, Buffalo with funds from Charles Clifton, James S. Ely, Charles W. Goodyear, Sarah Norton Goodyear, Dr. and Mrs. Clayton Peimer, George Bellows and Irene Pirson Macdonald Funds; by exchange: Gift of Seymour H. Knox, Jr. and the Stevenson Family, Fellows for Life Fund, Gift of Mrs. George A. Forman, Gift of Mrs. Georgia M.G. Forman, Elisabeth H. Gates Fund, Charles W. Goodyear and Mrs. Georgia M.G Forman Fund, Edmund Hayes Fund, Sherman S. Jewett Fund, George B. and Jenny R. Mathews Fund, Bequest of Arthur B. Michael, Gift of Mrs. Seymour H. Knox, Sr., Gift of Baroness Alphonse de Rothschild, Philip J. Wickser Fund and Gift of the Winfield Foundation; and Tate, London, with assistance from the American Fund for the Tate Gallery and the Latin American Acquisitions Committee, 2010.

Provenance:
Galleria Massimo De Carlo;
Florence and Philippe Segalot;
estate of the artist through Andrea Rosen Gallery and Private Collection;
sold jointly to the Tate, London and Albright-Knox Art Gallery, April 8, 2010

Class

Prints (visual works)

Work Type

Print (visual work)

This information may change due to ongoing research. Glossary of Terms

Verbal Description Audio

Using simple methods and ephemeral forms, Felix Gonzalez-Torres explored the complex social and political issues surrounding community, identity, loss, memory, and the human condition. Gonzalez-Torres was an openly gay artist during the height of the AIDS epidemic in the late 1980s and early 1990s, but his practice resonates beyond this context. With an approach that is rooted in both Minimalist and Conceptual schools of thought, his works are both emotional and political, and they often incorporate everyday materials such as candy, strings of lights, stacks of paper, jigsaw puzzles, mirrors, beads, and billboards.

Untitled (Double Portrait) is from the artist’s “stack” series and is made up of hundreds of sheets of paper featuring an image of two circles printed in lustrous gold. They are presented in a neat pile on the museum floor, available for visitors to take away; infinite numbers of new copies may be printed. The image this work carries represents one of the most important themes found in Gonzalez-Torres’s work: the pairing of two people in togetherness, solidarity, and love. These “anti-monuments,” as the artist described his “stack” works, are meant to symbolize the acts of loss and regeneration. Gonzalez-Torres also desired to subvert the traditional “look but do not touch” rules often associated with viewing and experiencing works of art.

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