Gabriel Orozco

Last updated

Gabriel Orozco
Born (1962-04-27) April 27, 1962 (age 61)
Jalapa, Veracruz, Mexico
Alma mater Escuela Nacional de Artes Plásticas,
Circulo de Bellas Artes

Gabriel Orozco (born April 27, 1962) is a Mexican artist. He gained his reputation in the early 1990s with his exploration of drawing, photography, sculpture and installation. In 1998, Francesco Bonami called Orozco "one of the most influential artists of this decade, and probably the next one too." [1] [2]

Contents

Biography

Early life and education

Orozco was born in 1962 in Veracruz, Mexico to Cristina Félix Romandía and Mario Orozco Rivera, a mural painter and art professor at the University of Veracruz.[ citation needed ] When Orozco was six, the family relocated to the San Ángel neighborhood of Mexico City so that his father could work with artist David Alfaro Siquieros on various mural commissions. His father took him along to museum exhibitions and to work with him, during which time Orozco overheard many conversations about art and politics.

Orozco attended the Escuela Nacional de Artes Plásticas between 1981 and 1984 but found the program too conservative.[ citation needed ] In 1986, he moved to Madrid and enrolled at the Circulo de Bellas Artes.[ citation needed ] There his instructors introduced him to a broad range of post-war artists working in non-traditional formats. [3] He said of his time in Spain,

"What's important is to be confronted deeply with another culture. And also to feel that I am the Other, not the resident. That I am the immigrant. I was displaced and in a country where the relationship with Latin America is conflicted. I came from a background that was very progressive. And then to travel to Spain and confront a very conservative society that also wanted to be very avant-garde in the 1980s, but treated me as an immigrant, was shocking. That feeling of vulnerability was really important for developing my work. I think a lot of my work has to do with that kind of exposure, to expose vulnerability and make that your strength." [4]

Career

In 1987, Orozco returned from his studies in Madrid to Mexico City, where he hosted weekly meetings with a group of other artists including Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas and Dr. Lakra. This group met once a week for five years and over time the artist's home became a place where many artistic and cultural projects took shape. [5]

Orozco's nomadic way of life began to inform his work strongly around this time, and he took considerable inspiration from exploring the streets. [6] His early practice was intended to break away from the mainstream work of the 1980s, which was often created in huge studios with many assistants and elaborate techniques of production and distribution. In contrast, Orozco typically worked alone or with one or two other assistants. His work revolves around many repeated themes and techniques that incorporate real life and common objects. The exploration of his chosen materials allows the audience's imagination to explore the creative associations between oft-ignored objects in today's world.

In 1995 he worked in Berlin on a Deutsche Akademische Austauschdienst grant. [7]

"For him [Orozco], the decentralization of the manufacturing practice mirrors a rich heterogeneity of object and material. There is no way to identify a work by Orozco in terms of physical product. Instead it must be discerned through leitmotifs and strategies that constantly recur, but in always mutating forms and configurations." – Ann Temkin [8] "What is most important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again."- Gabriel Orozco from an interview with Benjamin H. D. Buchloh [9]

He is represented in New York by Marian Goodman. [10] [11]

Personal life

Gabriel Orozco married Maria Gutierrez on August 2, 1994, at City Hall in New York. [12] They have one son, Simόn, born in November 2004. Orozco lives and works in New York, Mexico City, Tokyo, and France. [13]

Selection of works

1981–91

Recaptured Nature, 1991
Recaptured Nature is one of Orozco's earliest sculptural works and is constructed entirely from the vulcanized rubber made to create the inner tubes of truck tires. Orozco cut the rubber down the middle, then opened it up, cut two circular lid shapes from another inner tube, and welded them together at a tire shop. This resulted in an inflatable ball. Orozco says the work is an “exercise in topology,” [14] an area of mathematics concerned with the study of continuity and connectivity. Recaptured Nature plays with the idea that everything can become everything else. This piece informed future works like Elevator in which the artist reconstructed an elevator to be exactly his height.
Sleeping Dog, 1990
Orozco began working with photography around 1989. [15] An early photograph, Sleeping Dog, evidences both Orozco's reverence for and his mistrust of the photographic medium. The print immobilizes a sleeping dog from an aerial perspective on a large rock. The perspective of the camera compresses the foreground and background in such a way that the dog becomes at once image and object, possessing weight and presence while simultaneously producing a memory of the event. The overall physical impression that the image produces is suggestive of Orozco's interest in photography as a means to inform sculptural representation. [16]
Crazy Tourist, 1991
Crazy Tourist was a photograph taken by Orozco in Bahia Brazil. While wandering through the town of Cachoeira, Orozco came upon an empty marketplace. He spied some rotting oranges left over from the closed market and proceeded to position one on each table. Orozco then captured the intervention in a photograph. The locals who were watching him called him a "turista maluco". [17] Crazy Tourist exemplifies Orozco's approach to photography. Orozco does not want his photographs to serve as documentation in the way of becoming a relic, but rather as a witness to an ephemeral event that often occurs while the artist is alone. You forget the photograph but see the phenomena. [18]
My Hands are my Heart, 1991
My Hands are my Heart is a small heart-shaped sculptural work made in 1991 by the artist applying pressure with his fingers into a small lump of clay, leaving the impression of his fingers in the shape of a heart. The durable nature of hardened clay contrasts with the soft vulnerability of the object's identification as a human organ. The impression of the artist's fingers leaves a lingering trace of contact with the artist hands, a meditation on the creative process. [19] My Hands are my Heart also refers to the diptych of photographs taken with the artist, bare-chested, holding the work near his actual heart.

1992–99

Yielding Stone, 1992
Yielding Stone was one of two works created for a group exhibition in 1992. The work consisted of a solid ball of grey plasticine that was rolled through the streets in Monterrey, collecting dirt, debris and pebbles on its surface. The work was then exhibited in a gallery space where it continued to collect dust and attract foreign objects to its surface, elevating the object to the point of focus. Orozco showed a second version of Yielding Stone in the group exhibition In Transit at the New Museum of Contemporary Art in New York in 1993. The work displays the process of its creation and embodies the imprints of its interactions. [20]
Empty Shoe Box, 1993
For the 1993 Venice Biennale, Orozco placed an empty shoebox on the floor of the Aperto. The use of the shoebox could at first be thought of simply as a readymade but Orozco's use of this object is meant to instead draw the viewer's attention to his or her surroundings. The placement of such a highly familiar object within an otherwise empty environment allows for more of an awareness of what is and isn't in the space.
"The reasons for the quietly compelling attraction of an utterly banal object are of course manifold, yet one primary explanation could be found in the fact that the presentation of an empty container, rather than the object itself, traces the very shift from use value to exhibition value that has occurred in the culture at large." – Benjamin H.D. Buchloh [21]
Home Run, 1993
Home Run was part of a larger exhibition—Projects 41: Gabriel Orozco—that took place at MoMA in September 1993. The parameters of the exhibition were founded upon experimentation with the spatial limitations of viewing art. For his part, Orozco asked occupants in the buildings adjacent to MoMA to place oranges in their windows, so that the viewer would encounter the exhibition even after leaving the typically defined space of the museum. The placement of the oranges introduced a playful element to the piece as viewers accidentally came upon the work: museum visitors could experience the installation beyond the walls of the institution. In this way Home Run disrupted the traditional notion of the exhibition “viewing space” and blurred the line between art and life. [22]
La DS, 1993
La DS was first exhibited at the Galerie Chantal Crousel in Paris in 1993. In preparation for the exhibition, Orozco traveled to Paris and for nearly two months worked on the reconstruction of a Citroen DS with the aid of his assistant Philippe Picoli. Orozco intentionally used the 1950s classic French automobile due to its status in French popular culture as a symbol of post-World War II ingenuity. The fabrication and presentation of La DS reflects Orozco's interest in the mental and physical aspects of sculptural space and set a precedent for playful viewer-object relationships that Orozco continues to explore in his sculptural works. To create the work, Orozco cut an interior horizontal section from the automobile, and reassembled the remaining two halves so the car maintained its formal qualities. A mirror inserted on the driver's side of the automobile, furthers the illusion of the car still being drivable. [23] The exchange between the physical perception of the object and the memory of how the object should behave in space determines the spectators' overall understanding of the work, creating a mental image of the car that has a photographic effect.
"I have been interested in this notion of space that is still there and how a thin line that divides two bodies is not measurable. Of course, physically it is very thin, but emotionally or mentally it is much bigger and is immeasurable. In my work, I think, it is that space which interests me as a sculptor." – Gabriel Orozco [24]
Yogurt Caps, 1994
It is evident from works such as La DS, Home Run, and Empty Shoe Box that Orozco pays great attention to the space in which his viewers will interact with his work. For his first show with Marian Goodman in New York, Orozco placed four yogurt caps onto each opposing wall in the empty northern room of the gallery. Orozco has said a number of times that he aims to “disappoint the viewer.” [25] In other words, his work can sometimes seem underwhelming to those who may have come to the experience with certain expectations. Yogurt Caps challenged the viewer's notion of space, emptiness, self-awareness, and the body.

"It was a poem about nothing, that beautifully, could thus be one about everything too. A presence, however slight, was the key to seeing the emptiness of the room, as just a single sound is needed to manifest silence." – Ann Temkin [26]

Working Tables, 1996
Orozco's first Working Table was exhibited in Zurich in 1996. [27] The working tables are accumulations of sketches, ideas, found objects, leftovers, and unfinished artworks. The tables offer up an intimate picture of the process of the artist; the conception of an idea, the experimentation, and sometimes the decision to discard a work and its idea entirely. These small objects, when shown together, give the viewer an understanding of the recurring themes and connections that can be found within Orozco's work.
Black Kites, 1997
Black Kites was conceived for Documenta X shortly after one of Orozco's lungs collapsed in 1996. After a week spent in the hospital, Orozco decided he wanted to make his next work via a "very slow process." [28] He purchased a human skull from a nature store in NYC and for the next few months he worked at covering the entire skull in a checkerboard grid made of graphite. The grid follows the contours of the skull, leading the viewer in a circular pathway around it. There is a relationship formed between the rigidity of a system such as a grid and the naturally created shape of a human skull. Black Kites additionally embodies ideas of the memento mori and the iconographic skulls seen frequently within Mexican culture. The work brings to mind questions of our human fate and mortality.

2000–current

Lintels, 2001
Lintels was created for Orozco's solo show with Marian Goodman in 2001. The installation consists of numerous sheets of dryer lint collected over the course of a year. Orozco installed the sheets in the gallery to hang across the room as if on a clothesline. The fragile sheets are full of hair, dust, nail clippings and particles of clothing. They would sway ever so slightly when viewers walked through the installation. The Lintels are essentially the accumulation of residue left by the human body's presence. The work echoes Orozco's earlier sculpture Yielding Stone as both reflect upon corporeality and ephemerality. Both of the works continue to change within the environment they inhabit as new dust and debris gather on their surface. [29]
Samurai Tree Paintings, 2004
In 2004, Orozco began creating geometric abstract paintings. The circular forms and diagrammatic design were similar to those which Orozco had been toying with for years on graph paper, currency, and airplane tickets. He debuted the first paintings at his solo exhibition at the Serpentine Gallery in London in 2004. Beginning at a single point in space, Orozco used computer software to draw a circle around the point and divide this circle into quadrants. He then drew another circle to touch the outer edge of the previous one (varying the size of the circle) and proceeded to divide those into quadrants. Orozco would then paint the halves and quadrants in red, blue, white, or gold, treating the sections of the circles as if they were squares on a chessboard. Circles play an integral part in Orozco's work and he sees them as instruments of movement. In the Samurai Tree paintings there is a centrifugal point from which the circles spin and rotate outwards.
Corplegados, 2011
The Corplegados are a series of large format drawings created for Orozco's most recent show with Marian Goodman in 2011. The word literally translates to mean folded bodies. The works are life-size sheets of paper that Orozco would fold up and take with him on his travels between 2007 and 2011. Orozco drew, paint and wrote all over the surfaces of the paper. The application and layering of the various media permeated the paper and soaked through to the back side forming an unpredictable, ghostly reflection of the front. The drawings were installed in two-sided glass frames that hung from the wall on hinges so the viewer could see both sides of the paper. Each drawing transitioned from bright, colorful, painterly gestures to linear, geometric shapes and a muted palette. These contrasts reflected the different psychological and environmental changes to which the artist and his drawings were exposed to over extended periods of time. [30]

Exhibitions (selection)

The Museum of Modern Art in New York presented a solo show of the artist in 1993 [31] and a mid-career retrospective exhibition in December 2009. [13] The exhibition traveled to the Kunstmuseum Basel, the Centre Pompidou, Paris, and ended at the Tate Modern, London, in May 2011.

Public collections (selection)

His work has been included in the permanent collection of several museum institutions such as the Pérez Art Museum Miami, [32] Florida with the work Samurai Tree (Invariant 260) from 2020–21; Museum of Modern Art, New York; Aspen Art Museum, [33] Colorado; the Metropolitan Museum of Art, [34] New York; San Jose Museum of Art, [35] California; Museum of Contemporary Art, Los Angeles (MOCA); [36] Dallas Museum of Art, Texas; Philadelphia Museum of Art; [37] Pennsylvania; Whitney Museum of American Art; [38] New York; Noguchi Museum, [39] Queens; Museum of Contemporary Art Chicago, [40] Illinois; Tate, [41] London; Museo Reina Sofia, Spain. [42]

Bibliography

A list of select publications include:

Art books

Art catalogs

Filmography

Related Research Articles

Michael Max Asher was a conceptual artist, described by The New York Times as "among the patron saints of the Conceptual Art phylum known as Institutional Critique, an often esoteric dissection of the assumptions that govern how we perceive art." Rather than designing new art objects, Asher typically altered the existing environment, by repositioning or removing artworks, walls, facades, etc.

<span class="mw-page-title-main">Installation art</span> Three-dimensional work of art

Installation art is an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called public art, land art or art intervention; however, the boundaries between these terms overlap.

<span class="mw-page-title-main">Mark Wallinger</span> British artist (born 1959)

Mark Wallinger is an English artist. Having previously been nominated for the Turner Prize in 1995, he won in 2007 for his installation State Britain. His work Ecce Homo (1999–2000) was the first piece to occupy the empty fourth plinth in Trafalgar Square. He represented Britain at the Venice Biennale in 2001. Labyrinth (2013), a permanent commission for Art on the Underground, was created to celebrate 150 years of the London Underground. In 2018, the permanent work Writ in Water was realized for the National Trust to celebrate the Magna Carta at Runnymede.

<span class="mw-page-title-main">Joseph Beuys</span> German artist and art theorist (1921–1986)

Joseph Heinrich Beuys was a German artist, teacher, performance artist, and art theorist whose work reflected concepts of humanism, sociology, and, with Heinrich Böll, Johannes Stüttgen, Caroline Tisdall, Robert McDowell, and Enrico Wolleb, created the Free International University for Creativity & Interdisciplinary Research (FIU). He previously in his talks and performances also formed The Party for Animals and The Organisation for Direct Democracy. He was a member of a Dadaist art movement Fluxus and singularly inspirational in developing of Performance Art, called Kunst Aktionen, alongside Wiener Aktionismus that Allan Kaprow and Carolee Schneemann termed Art Happenings. Today, internationally, the largest performance art group is BBeyond in Belfast, led by Alastair MacLennan who knew Beuys and like many adapts Beuys's ethos.

<span class="mw-page-title-main">Monochrome painting</span> Paintings made with a single color

Monochromatic painting has played a significant role in modern and contemporary Western visual art, originating with the early 20th-century European avant-gardes. Artists have explored the non-representational potential of a single color, investigating shifts in value, diversity of texture, and formal nuances as a means of emotional expression, visual investigation into the inherent properties of painting, as well as a starting point for conceptual works. Ranging from geometric abstraction in a variety of mediums to non-representational gestural painting, monochromatic works continue to be an important influence in contemporary art.

Events from the year 1962 in art.

<span class="mw-page-title-main">Marcel Broodthaers</span>

Marcel Broodthaers was a Belgian poet, filmmaker, and visual artist with a highly literate and often witty approach to creating art works. From 1943 to 1951 he was a member of a Communist party.

<span class="mw-page-title-main">Piero Manzoni</span> Italian avant-garde artist

Piero Manzoni di Chiosca e Poggiolo, better known as Piero Manzoni was an Italian artist best known for his ironic approach to avant-garde art. Often compared to the work of Yves Klein, his own work anticipated, and directly influenced, the work of a generation of younger Italian artists brought together by the critic Germano Celant in the first Arte Povera exhibition held in Genoa, 1967. Manzoni is most famous for a series of artworks that call into question the nature of the art object, directly prefiguring Conceptual Art. His work eschews normal artist's materials, instead using everything from rabbit fur to human excrement in order to "tap mythological sources and to realize authentic and universal values".

<span class="mw-page-title-main">Benjamin H. D. Buchloh</span> German art historian

Benjamin Heinz-Dieter Buchloh is a German art historian. Between 2005 and 2021 he was the Andrew W. Mellon Professor of Modern Art in the History of Art and Architecture department at Harvard University.

<span class="mw-page-title-main">Blinky Palermo</span> German painter

Blinky Palermo was a German abstract painter.

<span class="mw-page-title-main">Thomas Schütte</span> German artist

Thomas Schütte is a German contemporary artist. He sculpts, creates architectural designs, and draws. He lives and works in Düsseldorf.

In art, institutional critique is the systematic inquiry into the workings of art institutions, such as galleries and museums, and is most associated with the work of artists like Michael Asher, Marcel Broodthaers, Daniel Buren, Andrea Fraser, John Knight (artist), Adrian Piper, Fred Wilson, and Hans Haacke and the scholarship of Alexander Alberro, Benjamin H. D. Buchloh, Birgit Pelzer, and Anne Rorimer.

<span class="mw-page-title-main">Colección Jumex</span> Museum in Mexico City, Mexico

Colección Jumex is a private art collection owned by Eugenio López Alonso. It includes around 2,800 works by Damien Hirst, Andy Warhol, Gabriel Orozco, Cy Twombly, Jeff Koons, Marcel Duchamp, Andreas Gursky, Darren Almond, Tacita Dean, Olafur Eliasson, Martin Kippenberger, Carl Hopgood, Bruce Nauman, David Ostrowski, Francis Alÿs, Urs Fischer, Gego, Donald Judd, Ed Ruscha, Nancy Rubins, Richard Prince, Stefan Brüggemann, and Martin Creed.

<span class="mw-page-title-main">Fred Sandback</span> American sculptor

Fred Sandback was an American minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints. His estate is represented by David Zwirner.

<i>Yves Peintures</i> Book by Yves Klein

Yves Peintures is an artist's book by the French artist Yves Klein, originally published in Madrid, on 18 November 1954. This publication was Klein's first public gesture as an artist, featuring pages of 'commercially printed papers' that were seemingly reproductions of paintings that, in fact, didn't exist. Using a practice started by Marcel Duchamp, this use of readymade objects to represent nothing but themselves has been referred to as an early example of Postmodernism, using a series of carefully executed strategies to undermine its own authority, and as a precursor to conceptual art. 'The simplicity of his readymades is at once sublime and mischievous.'

"The booklet asserts its character straightaway in the preface: a wordless text of unbroken horizontal lines with the same two paragraph indentations on each page.... a homogenous continuum with no real beginning, middle, or end, and no content - at least insofar as there are no descriptions, analyses, or personalized utterances. The colour plates are similarly presented as anonymous entities, each a flat spatial field of an uninflected hue: turquoise, brown, purple, green, pink, gray, yellow, ultramarine, mint, orange, or red. Here, too, there is no attempt to represent or symbolize anything....

The booklet thus offers an utterly pared down presentation. Unlike most art books, it provides no reverential prose about the artist or the art, and no embellishing descriptions meant to convey meaning or context. Instead the booklet itself is made into a work of art that shares the same spirit of nothingness exemplified by the monochrome paintings that it features." Sidra Stich

Marian Goodman is owner of the Marian Goodman Gallery, a contemporary art gallery opened in Manhattan, New York in 1977. Goodman has been called one of the most respected and influential gallerists of contemporary art in the world. She is known for introducing European artists like Gerhard Richter, Joseph Beuys, and Marcel Broodthaers to the United States and has represented a number of important artists including Steve McQueen, Thomas Struth, Pierre Huyghe, Thomas Schütte, Lothar Baumgarten, Tony Cragg, Richard Deacon, Tacita Dean, Christian Boltanski, Annette Messager, Chantal Akerman, Niele Toroni, Gabriel Orozco, Maurizio Cattelan, Giuseppe Penone, Giovanni Anselmo, Jeff Wall, Rineke Dijkstra, and William Kentridge. Marian Goodman gained prominence in the art world in the 1970s and 1980s, a time when few women worked in this sector.

<span class="mw-page-title-main">Minimalism (visual arts)</span> Visual arts movement

Minimalism describes movements in various forms of art and design, especially Visual art and music, where the work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the 1960s and early 1970s. Minimalism is often interpreted as a reaction to abstract expressionism and a bridge to postminimal art practices. Prominent artists associated with this movement include Ad Reinhardt, Nassos Daphnis, Tony Smith, Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Larry Bell, Anne Truitt, Yves Klein and Frank Stella. Artists themselves have sometimes reacted against the label due to the negative implication of the work being simplistic.

Briony Fer, FBA is a British art historian, critic, and curator; professor of history of art at University College London. She has written extensively on diverse topics of 20th century and contemporary art. She has written essays on numerous contemporary artists, such as Gabriel Orozco, Vija Celmins, Jean-Luc Moulène, Roni Horn, Ed Ruscha, and Rachel Whiteread. A focus of her research is on the art of American sculptor Eva Hesse, as when she wrote for the catalogue for the artist's 2002 retrospective curated by Elisabeth Sussman at San Francisco's Museum of Modern Art in 2002.

Ann Temkin is the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at The Museum of Modern Art (MoMA) in New York.

References

  1. Francesco Bonami, Sudden Death: Roughs, Fairways and the Game of Awareness — Gabriel Orozco, Parachute, 1998.
  2. Enwezor, Okwui (April 2010). "Okwui Enwezor on Gabriel Orozco". www.artforum.com. Retrieved 11 April 2023.
  3. Gabriel Orozco. Ann Temkin, Anne Byrd, Benjamin H. D. Buchloh, Briony Fer, Paulina Pobocha. New York: Museum of Modern Art, 2009 pp. 45–46, 95)
  4. quoted in 'Gabriel Orozco, by Jessica Morgan (Tate Publishing, 2011), p.9
  5. Temkin, 2009, p. 49
  6. "Gabriel Orozco, Lecture (2001) translated by Eileen Brockbank" in October Files: Gabriel Orozco. Edited by Yve-Alain Bois, Cambridge, Massachusetts, 2009, p. 85
  7. John-Paul Stonard, revised by Iván Ruiz. "Orozco, Gabriel." Grove Art Online. 10 December 2000, revised 12 February 2020. https://www.oxfordartonline.com/groveart/
  8. Temkin, 2009, p. 17
  9. Gabriel Orozco: Clinton is Innocent. Musée d’Art Moderne de la Ville de Paris.
  10. "Gabriel Orozco". Marian Goodman Gallery. Retrieved 16 March 2023.
  11. "Gabriel Orozco". The New Yorker. Retrieved 11 April 2023.
  12. Temkin, Ann (2009). Gabriel Orozco. New York: Museum of Modern Art. p. 95. ISBN   978-0-87070-762-9.
  13. 1 2 Sontag, Deborah (11 December 2009). "A Whale of a Return to MoMA". The New York Times. ISSN   0362-4331 . Retrieved 16 March 2023.
  14. Temkin, 2009, p. 61
  15. Temkin, 2009, p.56
  16. "Gabriel Orozco in Conversation with Benjamin H.D. Buchloh", 2004 in October Files: Gabriel Orozco. Edited by Yve-Alain Bois, Cambridge: MIT,2009, p.120, 142, 148.
  17. Temkin, 2009, p 58
  18. "Crazy About Saturn: Gabriel Orozco Interviewed by Briony Fer," 2006 in October Files: Gabriel Orozco, Edited by Yve-Alain Bois, Cambridge: MIT, 2009 p. 158-160
  19. Benjamin H.D. Buchloh, "Refuse and Refuge,"(1993) in October Files: Gabriel Orozco. Cambridge: MIT, 2009, pp. 5–7
  20. Temkin, 2009, p. 67, 73.
  21. Benjamin H.D. Buchloh, “Gabriel Orozco: Sculpture as Recollection,” in Gabriel Orozco, 2006 p. 177.
  22. Temkin, 2009, pp. 81–84
  23. Temkin, 2009, p.86-87
  24. Of Games, The Infinite and Worlds: The Work of Gabriel Orozco. Dublin: The Douglas Hyde Gallery, September 2003. pp. 9–14.
  25. Temkin, 2009, p. 95
  26. Ann Temkin, “Afterword,” in Gabriel Orozco: Photogravity, 1999, p. 173
  27. Gabriel Orozco. Mexico City: Museo del Palacio de Bellas Artes, 2006. p.162
  28. Temkin, 2009, p. 123
  29. Rye Dag Holmboe "Gabriel Orozco: Cosmic Matter and Other Leftovers" TheWhiteReview.org, Accessed 2/28/2013
  30. 2011 Press release, accessed 3/2/2013 at: http://www.mariangoodman.com/exhibitions/2011-09-14_gabriel-orozco/ Archived 2013-02-09 at the Wayback Machine
  31. "Projects 41: Gabriel Orozco". Museum of Modern Art, Exhibitions and Events. Retrieved 16 March 2023.
  32. "Gabriel Orozco • Pérez Art Museum Miami". Pérez Art Museum Miami. Retrieved 11 April 2023.
  33. "Gabriel Orozco". Aspen Art Museum. Retrieved 11 April 2023.
  34. "Gabriel Orozco | Vitral". The Metropolitan Museum of Art. Retrieved 11 April 2023.
  35. "Other Walks: Gabriel Orozco | San José Museum of Art". sjmusart.org. 2 November 2018. Retrieved 11 April 2023.
  36. "Gabriel Orozco". www.moca.org. Retrieved 11 April 2023.
  37. "Museum Studies 5: Gabriel Orozco". philamuseum.org. Retrieved 11 April 2023.
  38. "Gabriel Orozco". whitney.org. Retrieved 11 April 2023.
  39. "Gabriel Orozco: Rotating Objects". The Noguchi Museum. Retrieved 11 April 2023.
  40. "MCA - Gabriel Orozco | Museum of Contemporary Art Chicago". mcachicago.org. Retrieved 11 April 2023.
  41. Tate. "Gabriel Orozco born 1962". Tate. Retrieved 11 April 2023.
  42. "Gabriel Orozco | Museo Nacional Centro de Arte Reina Sofía". www.museoreinasofia.es. Retrieved 11 April 2023.