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'
ROBERT MORRIS
Ik
ROBERT MORRIS
THE MIND/BODY PROBLEM
SOLOMON
R.
GUGGENHEIM MUSEUM
1994
New York
All rights reserved
Guggenheim Museum
Publications
Photo Credits
Works by Morris, by catalogue number: 1, Bruce C.
Jones, courtesy Leo Castelli Gallery. 2. 7, 11, 14, 16, 20,
24, 34, 39, 50-51, 54, 62, 71, 73-74, 76, 80-82, 86-87,
89, 98, 103, 107, 126. 130-33, 137, 139, 141, 149-51,
Pti
i.
Boi
ima
Will
New York
Ga
Castelli
d Gallery
13, IS
iphy,
Rosalind Ki-uubb,
130
Bevan Davies
Miiiiimo Capoi
Museum
Abbot
Abbi
Pine ArtH.
"i
Castelli Qallerj
adman
i<.
John Bei
Jon
i
ilk
111
'
Bun khardl
19
JOBI
Pi
B<
Johl
pi
<
(i
talli
Moon
Rudolpb
Ni-w York
N
LBS
Bl
CONTENTS
xii
PREFACE
Peter Lawson-Johnston
xvii
INTRODUCTION
Thomas Krens
18
WAYWARD LANDSCAPES
Maurice Berger
34
50
FRAMEWORKS
Annette Michelson
62
80
ON ROBERT MORRIS
AND THE ISSUE OF WRITING:
A NOTE FULL OF HOLES
Jean-Pierre Criqui
39
CATALOGUE
Kimberly Paice
303
BIBLIOGRAPHY AND
EXHIBITION HISTORY
NOTE
Although this monograph is published on the
occasion of a comprehensive retrospective
at the Guggenheim Museum, the catalogue
section is not meant to be a representation of the
exhibition per se. Rather, it has been conceived
as a thematic overview of that same range
of Robert Morris's career featured in the
retrospective, arranged roughly chronologically.
In the catalogue, Morris's art works are
numbered; these catalogue numbers are used as a
cross-referencing tool throughout this book. For
example, when Two Columns (1961) is discussed,
it is referred to as "no. 1" because it is the first
of Morris's works illustrated in the catalogue,
and so forth. In many cases, the works are
illustrated with archival photographs taken at
the time of their first exhibition. Often, the
originals were never meant to exist as unique art
objects; instead, they were intended to be made,
a down, and refabricated as they were moved
from one installation site to another. Thus.
there is not a one-to-one correspondence between
the objects in the exhibition and those illustrated
in the catalogue. All art works reproduced
in this monograph are by Morris unless
otherwise noted in the captions.
CATALOGUE
ENTRIES
90
94
96
100
104
106
112
COLUMNS, 1961
PASSAGEWAY, 1961
BOX FOR STANDING, 1961
PORTALS, 1961
BOX WITH THE SOUND OF ITS OWN MAKING.
EARLY MINIMALISM
THE DUCHAMP CONNECTION
122
I-BOX, 1962
126
CARD
130
CABINETS, 1963
132
134
142
SELF-PORTRAITS, 1963
148
MEMORY DRAWINGS,
154
158
ARIZONA, 1963
160
21.3. 1964
FILE, 1962
1963
1963
162
168
SITE, 1964
170
172
176
178
WATERMAN SWITCH,
180
PERMUTATION, 1967
184
202
SERIALITY
INDUSTRIAL FABRICATION
LEADS
HEARING. 1972
206
MESH
212
FELTS, 1967-83
224
STEAM, 1967
226
THREADWASTE,
230
DIRT, 1968
234
188
192
238
240
244
250
VOICE, 1974
IN
282
288
292
296
1968
1969
RUBBINGS, 1972
BLIND TIME DRAWINGS. 1973
LABYRINTHS, 1973-74
262
274
1965
PIECES. 1966-68
256
268
1961
1978
HYDROCALS. 1982-84
FIRESTORMS. 1983
INVESTIGATIONS. 1990
BLIND TIME IV (DRAWING WITH DAVIDSON). 1991
PREFACE
rris ib
The Guggenheim
was, at
founding
its
history.
its
devoted
in 1937,
museum's
Biumo
Among
the 1960s
ot
in
ISM
art in general
raisonne
rise of
when he began
195355). Thus,
San
make
Morns discovered
of
in
avant-garde dance,
in
Morns
make
large-s< ale
initially
le
but encompasses
conceived
.irl
ot
the Williams
the form
ol tins
Museum
ol
massive
fa<
an institution
ol
torship
ol tin
wall
fell
Ins In In
acquire
ulptures; giant
si
1988, Krens
In
ol
oui
an
ai
I.
no-
ol
important
roll
nlii
mi
d<
.or in tin
to
,i
in
1976,
An
<
iitral roll
also n
It
)'
On din torship
h.
In
.i-.'.o.
when Krens
parti
I" a<
tin
M
i
ii
in
.i.illi .1
.a tin
I
for
ijed
in
<
.in. in
ampu
was
iiii'i'i
nlii
li
foi
'I
'
'
program
in.
.i.
a inoiiiiiiii nl.il
mi
Musi
um
in thi
xhibition
Rosalind Krauss
to
long
inuioi
Kn
ir.
shaping
ai
round, (hen,
hi
1<
was joined
Krauss,
i.i
ot
in the
world
ai si In
Iii
1.
for
not surprising
is
run
lik<
in
.
i.
an
role in the
Professoi ol
us founding
in
L976
An
listory
niv< isu\.
the
l<\
and theorist
ideas aboui
1960s through
civt
Solomon
in ur.iloi
dus task
ol hei
in.
own
it
idation, but as
n lationship
olumbia
produi ed
ruggenheim has
<
Sol l"
interior courtyard ol
m museum
to act
distinguished an historian,
standing
>H\
xhil
and pn tented
ot
the
tailed to
oi tin
Assistant
'
.ii
K Guggl nlu
in
th<
then
.m
ii
art
\\ illiams Coll
.u
in Willi. in
'>i
With
cted thi
fli
thai
ill'
iii
had played
h k
Krens
two began
."It s
thai
in. in. r.
tin
nl ol his
ie
Ami
ontrol.
<
in
assumed
ontinued
<
that
1950
sinci
complex
to
ontemporarj
tory
on
histo
ol ari
was
while illuminating
continuity
museums
projection about
ol his
ollcgc
din
ulpture
si
ol
The conversion
Art.
dan
1961
ol
as
Serra,
me
Museum
ulptun
S<
enormous achievement
the transformation
bui abandoned
all
Modern
of
Graham.
thai art
whi< h young
and the
ol stale
was paralleled
on-going.
in
art ol Morris's
growing
thai Ins
museums
demands
his career as a
1950s, however,
is still
<
is
catalogue
50), th<
>,
the
heduled to be completed
si
nse he
at
own work,
he began work on
In 1978,
of Morris's
originally
first
in
could shape.
it
and 1970s
His
installation,
to
Amen
collection of
to
1960s and
of
the institution.
power
of
icpi rii
nc<
ol
at
ol
Krauss's
(hi
end
Minimalism,
Serra, an
Modern
sculpture.
revelations their
Editor.
came
Assistant
important exhibitions of
to organize various
for her,
Managing
Deborah Drier
Edward Weisberger,
many
devoted to the
first
the
artist,
and
Morris's performance
it
all its
been engaged
various
create a continuous
was crucial
we
who
and film
crucial to
its
realization.
who had
Blankensop,
Stella,
offer
itself,
medium
shown
made
by the National
joined in
its
support of
Endowment
essays:
we turned
its
critic
this
du Muse'e, Paris;
Annette Michelson, Professor of Cinema Studies, New
York University, and coeditor of October; and W. J.T
Much
of
Kimberly
Robert Morris
Guggenheim.
document
The
staff,
coordination
is
who
due
to the skill
and devotion of
much
Read,
multiple
Museum
Museum
those people
Her
acknowledgment
all facets
for the
aspects,
L.
Pamela
Corporation of America.
this exhibition
financial matters.
exhibition.
presentation was
Husten, Manager
new
via the
Amy
Pogliani,
Michael
Susan
we
who
as compiler of
document
effort to
first
are extremely
Lucinda Childs,
Guggenheim's
was
in the
to bring
Kimberly Paice
Guggenheim undertook
its
realization.
Manager of Fabrication
Jr.,
Services; Jon
Johnson,
Museum
Brayshaw,
assist
CO
Robert Morris
the refabrications of
lent generously
Irom
many of
his own
collection and
ts ol
he
became
the
measure
function ol his
ess
is
efl
II
THE SOLOMON
R.
HONORARY TRUSTEES
IN
GUGGENHEIM FOUNDATION
PERPETUITY
Solomon R. Guggenheim
Justin K. ThannhaustT
TRUSTEES
Jeanne Moutoussamy-Ashe
Peggy Guggenheim
Elaine Dannheisser
PRESIDENT
Michel David-Weill
De Benedetti
The Honorable Gianni De Mi Jul is
Robert M. Gardiner
Carlo
VICE-PRESIDENTS
The Right Honorable
Wendy -J McNeil
I.
Robert
Gardiner
F.arl
Castle Stewart
Barbara Jonas
Thomas Krens
DIRECTOR
Thomas Krens
Piter Lawson-Johnston
Samuel J. LeFrak
Peter B. Lewis
Wendy
I.-J. McNeil
Edward H. Meyer
Marcel
Ospi
L.
Ronald O. Perelman
Michael M. Rea
Richard A
M.D.
Rifkind,
Hem/ Ruhnau
Denise Saul
Rudolph
Terry
B.
Schulhof
Semel
James
Sherwood
B.
Raja Sidawi
Seymour Sine
Peter
W Stroh
phen
<
Swid
John S W.ulsworth,
St<
Ram
leigh
Warner,
Jr.
Jr.
Weber
had
Wettach
Jiirgen
Mi,
fohn Wilmerding
Donald
Wilson
WilUam T Ybisakcr
HONORARY TRUSTEE
Mme
Pompidou
laude
TRUSTEE, EX OFFICIO
I
in:'
\li
ISI
Ik
DIRECTOR EMERITUS
Thomas
Messei
PROJECT TEAM
COCURATORS
Rosalind Krauss
James Hodgson
Thomas Krens
Elvis
EXHIBITION COORDINATOR
Kimberly Paice
L.
John
Henry Klimowicz
Andrew Ludke
Daniel McCarthy
James McCaul
Gary Nichols
K. Tregar Otton
Programming
Steven Plaxco
Thomas
Samuel Reveles
Amy
Phillip Rivlin
Husten, Manager
of
Radloff
David Rogers
Robert Seng
Paul Shore
Adnene Shulman
Richard Sigmund
Scott
Michael Stern
Eugene
Tsai
Services
Peter Read, Jr., Manager, Fabrication Services
Museum Technician
Museum Technician
David M. Veator, Senior Museum Technician
Robert Attanasio, Museum Technician
Lisette Baron Adams, Museum Technician
Jennifer
Abrams
Sonja Bekkerman
Chrystine de
Jocelyn
Museum
Technician/Carpenter
Specialist
Museum Technician
Dennis Vermeulen, Museum Technician
Guy Walker, Museum Technician
William Smith,
Amy
la Verriere
Fennell
Shana Gallagher
Uta Klinger
Haike Laufmann
Lisa Leavitt
Irene
Mees
Menendez
Ingrid
Allegra Pcsenti
Mark DeMairo,
Caterina Pierre
Facilities
Manager
Amy
Carol Tanka
Catherine Vesey
Reichel
Edward Bartholomew
Jocelyn Brayshaw
CATALOGUE
Paul Bridge
Jack Davidson
Michael Davidson
Marcus DeVito
dward Weisberger,
Assist. mi
Managing
Susan Fisher
Larry Forte
Richard
ditor
ditor
ditor
Gombar
Allan Greller
Howard Harrison
h,
New V
B.
Williams.
INTRODUCTION
think that what T/mt Keeper has knuu n all along. Ignatz,
Robert
work
a single
is
of
And
How
With
artist. Yet
up the problem
known
who
at the
same
knowing an
work
artist's
are
presumed
and
work. Special
on the occasion
remains. As
still
imbedded
notion
lii
own
.msr
-(
it
is
in
and permutable
ontiiiuotis
se
direi
definition he
his
Morris puts
game
project
hln.
m hmr
Ins
on
-....
This
iti
si
led to the
of study
COUrSI
through an)
Minimalism
tin
evei
Id chai
xvlll
lo
an.
an rounds
story ot
the-
text that
and transcriptions
began work on
atalogue raisonne',
<
in 1978.
was undertaken by
ha me,
is
to his
lati
lal
noi
in
III
less ol
.1.
hint ion
espei
iallj
noi thai ol
spa.
undertake n
in thi
Ml
(II
ii
KOI
ontext
in th<
in
of the
and
to treat
years thai
this
each
.it
i.-ntanes on Morris's
now
and
Finally, to
the author
l>v
was
tiles of
ol
2,500
Initiated in
the Leo
ipei live
objei
1978
the
its
Sonnabend
Museum
In
was announced as
is
400 pieces
galleries,
was
assembled an
scope
he in hive on Morrl
provide a series of
shifte.l
1994-95
published texts
excess
well in
all
art;
wotk
work, win.
made
Thomas Krens,
his.
somehow, n
pan ill III spi
the author,
II
arc-
mm
.III.
from the
the work in
of
am
coherence, however,
Its
later on.
listing,
onteni
is, ol
his project
man
work
fields
the humanitii
gaps
in the
fill
adept, and
allj
tii
medium and
years ol
ii
raisonni
then an few
episodes and
atalogui
to
beings are.
thai he
annoi win
and
ichaustivel) diverse in
i
inti
In o\<
Human
and context.
The pages
on the
tacts
intended as
By making
pie< e,
knows by
the whole-
tell
is
This proiect
i
is
of
a special
any other
ol
preihi ated
himself as an artist
.
document
The
partit ularly
is
so.
time
ot its
one
more
artist of Ins
all ot
in its
problematii
fragment gains
an increasingly
ol
m my
ot Morris's
the only-
is
and
follows, then,
could fabricate.
tell
art
to
of
fictional aliases in
entirety
What
generates.
These fragments
process.
MIT
its
and think
Guggenheim
first
must
coterminous
is
Knowing
to tell the
historical analyses
of a
it
problem
commentary
are
documentary monographs
ot his art
less
story," the
for
two decades,
in
who
ever lived?
the
artist
efforts at
it
nothing
in
much
significant
as a text that
this sets
The means
is
who
"a
any other
it
underestimate a powerful
to radically
body
his
is
Morris,
way
Thomas Krens
Its
IJ
Tape 1.2
Tape 1.1
Tom:
PAINTINGS
California
...John Cage listened to the BOX WITH THE SOUND OP ITS OWN
R.M.
don't know.
MAKING for
hours.
didn't
R.M.
a
few
Most
threw away.
And
But later on, about 68... 69, I noticed certain kinds of reseraof
blances between some /the felt pieces and forms of those paintings.
Coincidence?
don'
know.
Tom:
Was it
R.M.
No.
Tom:
it
something.
at a time.
didn't have
1978
left:
December
of
Then these
That's why the COLUMN was not put together for a while.
would
hard-copy publishing
sanding
to
RECEIVED DEC 13
original
..
2 -
Every tning.
Three-three and
R.M.
objects
recorder outside.
couldn't
accept. Because on the one hand you were invloved in some activity,
"fcape
quit painting
couldn't solve.
level.
continuous loop?
saved
side
1.
This
is
the
first
p.
1,
tape
1,
transcript of a series of
in
City.
thirty
250 pages
right: Ibid.,
of transcript text.
p.
5,
tape
1,
side 2.
MAS KRENS
x\ x
12
Tape
It.
ude
..
if
of things.
method of control.
So it
then detailed.
13
Tip* U.2
complex
TOH:
made
RH:
They
tacked in.
Yes.
TOM:
..
that's why
elae and reading Pouciult (sp?) who wrote t book ibout the
history of prisons.
to do prints,
Then
..
if
was going
Cos toll
So those
an
much colder
Tom
noon.
that aociety it
lirger prison.
Leakey
things,
left: Ibid.,
right: ibid
IK
IU'
3,
tape 4, side
.11 It
IN
2.
I'd work
thru Sat.,
it'd
Somewhere
I
So
there except
organized a
en it in the mornings.
says this)
how bad Rlekirs lalind ia. (But for Pirenesi they were bad in
romantic way, yours
gave it to him.
performed.
also kept
record of ihat
did.
Metae .it
was his
aiMfM
as
in
"Tn"e
Green Box
in random order,
temporal vitality of
The Large Glass and the publication of The Green Box , the complexity of the piece
potential and actual layers of meaning interest is certain work has been
The Large Glass was abandoned^ when Duchamp was able to finance the publication of
of the notes, drawings, and photographs,
least the last two decades had certainly not moved toward resolution as far a its
presented a different problem - one that was only solved eleven years after
94
*uch
discussed crisis of criticism that has plagued the American art world for at
was shattered in transit, and the piece disappeared into a private collection
facsimile edition of
forthcoming on the intent or meanings behind individual works, and the much
After its single exhibition at the Brooklyn Museum in 1926 the glass
ii
in of itself
Other work
these two parallel endeavors - the object and its essentially textual notations
a single, unified
Numerous extant works, for example are literally unknown, having never entered,
U jgsmmmT be
are significant gaps in the available information on the work of Robert Morris.
future date, a delayed art work, again, perhaps, much in the manner of Duchamp.
Even
Perhaps Morris just intuitively sensed that with some work, that to preserve
then, notes Duchamp, scholar George Heard Hamilton, "Duchamp's elegant invitation
to the reader to thread his own way, with the aid of the notes, through the
Breton's precipient
investigations into the multiple meanings and mechanations of the piece for more
than thirty years after Duchamp's work on it ceased.
atot
Ibvre are similarities between this situation, and the one we confront with
Robert Morris's work.
Ay-nM*./ ^JA/^V
<f
&>/'*>*<"-
**7ittttrfu*^
One can suggest that the gap in Duchamp's work between the
time and manufacture of a complex work of art with many layers of meaning, and the
process of revealing those many layers of meaning, might find analogy in Morris's
work.
As unlikely as that might seem in what appears to be our overdocumented and over *
left:
p.
1.
MASKHI'.
M x
The degree to
hich his concerns have shifted from moment to moment while retaining
<,
consistant
HI'
110&
relevancy for his art, has Bade t- prospect for overview and analysis 'precarious.
PerUWOWm
problem.
lli
lr
Wl-J-f
92
Hii-i
lllf
6A*C>
ovoioi
Kubler has proclaimed that the "aim of the historian, regardless of his
specialty in erudltion.is to portray tine," but allows that "Tine, like mind,
is not
RlX HJTM-
il
r*.
fuvt
(hi
PlAOOMAU I-Ul
Ovoios
VERTICAL CA/OIDS
is
_^
i s
at o ne with
U" * preconscious sute the >il Inn] rii~
r
-*
has no conception of %**
his environment, and feels no need for complex figurations of truth and knowledge!!
sensory stimulation.
i_
the development of consciousness has come the need to possess and conquer the
-iinlniihll
"
to power,"
w>
il
ii
was instinctual,
tnat
thaa.
^^
reflection of the
human inability to tolerate undescribed chaos. "The so-called drive for knowledge
4mm?> be traced back to a drive to appropriate and conquer:
|.
jmj
order, arrangement, form, beauty, wisdom, and whatever other names there are for
mBBmjmmjmmmsBBmBSmmmmmmmmwB
fx r^Li^t
mi mi ml "" K"
ii*
it
fma
v T 5t Sham
iNPUxriNC.
December 1980, p
Pieces of Steel
photocopy
thesis,
of Morris's
"Form-Classes
Appendix D,
p.
December 1980, on
scale.
the
Work
of
Constantm Brancusi,"
and
it
This drawing
1 1
map
is
KOHEIU MORRIS
literal
ot Brancusi's
mapping
achievement
activity that
is
is
Hot
s.
\\%\
first
963 (Green
Gallery) to
968 (200
own dimensions.
This
is
its
a key
work not
form and
Key document.
Box (1962)
only his
njo
of the major
Hfrv
ASc*vEcrouio
m*
direct
left:
)#
prfnary signified.
iiu.
^jptii^iae c^i^o
.-ft
morphic defining compels humanity to create an unending proliferation of interpretations whose only
"* n
FrtAuiMBNTlMCr
'XI
and
aspect ot Bob's work and being, on the other. (Build the death
here.)
WW.
lllf
lJ-*'
?
It has often been said of Morris that he is one of the roost fully
is the
#68* -$e8rs>?s
,
development,
During the
a^
course of the four year development og this project there was nothing
continuous understanding of
in my numerous excahnges with Morris that suggested otherwise, but the depth of
J^his
stylistic departures.
that awareness and consciousness, and its possible meanings, only gradually
detailed and comprehensive that that of the informed laymen, but less than that
became apparent.
of the specialist- except in
{jis
lis
is
As the chronological
works of art, gallery listings, personal archives and files, private and museum
and sublte sense of the word, beyond the consciousness of history as
lingusitic
Levi-Strauss began the flight from history in the 1970's be pointing out that
films, and video tapes, just to mention
few- tN^p96CaP#
complete in its
performed on the history of art by Jack Burnham concluded the end of art history
detail, but a picture that demonstrates certain patterns or consistencies; such
as it had come to be known;
acknowledged that the structural gestalt once 46te& detected, exhausts itself
art and various of these Se*a*$eSs6*6S developments expressed in other fields.
qua gestalt.
The ftei0$S$06Sif$t
,fifl5fl5fl<fiiS8S?
that in the mid-20th century modern historicism encountered its own irrelevence,
situation
isrr
must
with Jack Burnham.
tytf
process drained of
philosophy, and the methodologies that lay behind them.
His <i*i*t
master's thesis
historical meaning
He is politically senstive.
left:
fifth
November 1980,
He reasoned
p. 1.
right: Ibid., p. 6.
THOMAS KKF\S
ixlil
fU*
,i^
" breakdown
mmmmmV
or maintain
^puieoi lal
1 1
it
is un-
al or temporary),
turn,
generate tbe momentum for new formations and rules and a resulting
the
paradigm shift.
paitmng
Bal ilco's contribution s to the study of motion depend ed closely
on flBHi difficulties^^ discovered in Vistot le' mmmWrnVrnW
mmmmVml
If
i.
Is
It
Llkewi se
in
stances:
it
It
th<
em-
SBsaH
right: Ibid, p. 5.
ft'
'hi
h|e
oneg^
is
thi
of
tbe collective subscription to a common methodology or body
x k
But
capable ol solving
left:
in
ol
.rmal
regular acl
aaaaaaaassl
i
li
M< IRRIB
December 1980.
4.
Knowledge,
in the activities of
the
coAfsaVu}*eii
2T
The overall goal of the book, is to develop an appropriate treatment of the
whole work, lnother words the whole work needs an appropriate response in terms
of the book. The RD or Abrams coffee table would be a waste of time, if not
for you, at least for myself.
or an explanation that Is moving Into the present and derives or focus** only
on the Immediate past
Kuhn development of the structure of scientific
revolutions is particularly effective for an analysis of this section. Talking
about the develpment of ever more comprehensive theories, based on scientific
evidence and the continually develpment and redevelopment of scientific paradigms
One thinks of Eisteln's search for unified field theory and can make the analogy
of developing a unified theory of art that explains all phenomenon and can be
used not necessarily as a predictive device, but definitely as a tool to anticipate
the future.
.
This project develops from the proposition, fully ackowledglng the need for
a reportorial and at least quasi scientific objectivity, the Morris' work
occupies a preeminent position, if not the preeminent position, of art of the
last ## twenty years, and to accompany it detailed presentation, a logical
theoretical explanation that ackowledges both the difficulty of such a task,
the specific theorretical concerns that are developed within individual and
groups of works within specific historical periods, as well as locating the
activity 1) within the larger context of the commonly referred tonhistory
of art and 2) the larger context of the demonstrated activity that we have
catogorized as art making.
y/WxACfWS
Deal with the need for newness, the dialectical, development, change
Part of the structural biological develpment suggested by Piaget in Structuralism.
On the theoretical level, the structural approach sees an essential uniformity
in the development of things, from the organizations of cells, individuals,
patterns of though, soclties, and cultures. The most reasonable expanation
would be that af a kind af adaptive capability, to be able to change to adapt
to the always changing environment. What these characteristics (ability to
adapt and change) are tied to is survival, even in the Darwinian sense. Thrfse
creatures, cell, societies, that can adapt without surious rupture are those
that are the most capable and those that survive. That characteristic filters down
to artists in an unconsciousness need to be "original" unique, (giving something
of the person to the art or culture of an era.) within the last 100 years it
has manifested itself most directly in the art-making aesthetic or impulse as the
thoeyr of the avant garde, (form of the dialectical concept of history)
6*
if
(J*^
1.
2. Art History itself is only 100 years old. Measure that against the 6000 years of
art making cultyre, and you have the conscious perception of development in terms
of history to be only a fairly recent phenomenon. Within that recent histories
many theories have been suggested, developed, and mapped, but primarily in
vleM#M#6t# bounded by fairly precise historical situations, although that the
time of the development of these thoeries, they primarily explain without
particular awareness of the nature of continuing time and development. In other words,
they focus primarily on the present
left:
The consciousness is not just one of history, but also of the potential for artistic
expression on all levels, of concept, material, manifestation.
Janyes makes several points in his analysis about the breakdown. Por survival,
the bicameral mind was needed to sepearte speculation from the completion of
r|ftM# taks. If one had to cut a column for a greek temple and they sere not
being paid in a time before money was prevalent (not good analog, uae more
primitive time) the voices of authorltv kept him at his ftfi task)
More developmet in the area of how art was made in earlier times and civilizations"
1. Example, the pyrmids or stonehenge. No consciousness ab out the art of art.
These weee devices, perhaps observatories, the engineering and architecture of
based on repeltion and empirical obsrvatlon to improve that repetition over
long times rather than speculative minimalist aesthetics. Th4 communication took
place through the tightly knit and maintained groups of scientist /priests
struggling for some consciousness of their time and situation. The decoration of
those temples with specific or religious information, also had the function of
mediation. The consciousness of art as art, in entity in and of itself did not
take place until the concepts and Investigations of religion and science were albe
to separate themselves from 4#4 art and move off In areas of their own more
,
successfully
tftfTvtC
&
XL
frtsrc/J'rx
#/os*TZ
What should extiit between the attlst and the crtitlc, on the one hand, la a kind
of competitive Intellect, each trying to move the other one furhtcr along, rather
the the critic be a acre flag waver for the artist, because the artlat is reHreensted
after all, by an object rather than words. There are certain creative people, in the
fullest concept of the word, to whom the visual object represents a certain kind
of wanted energy, and don't cpoee to eneter that kind of annual situation. Yet, they
do not aake totem*, for all the power of their reasoning, and totems aove people.
There Is a point, however, when the resveres id rrue. Perhaps by force of event
of ltaulon, certain words becosM lenurtalized in a text of a particular declarartlon.
If the event associated with that declaration became Important enough, the declratlon
would cone to represent the event, being the object /symbol of a watershed or moving
situation. But those events that particularly get honored in such a way
'-arrlor-Polltic inn-Art ist-Crltlc-Sc lent 1st
Sou/ //*S6t//H*i<&
'S
-/err- tJi^/-
yeW
o-
orf-frs
r^.
6e**r.
"
/>/<hSO,
IndlvlBual-Warrlor-Prelst-Polltlclan-Arylst-Crltlc-Sclenilst-Dlety
(the stagea of life
7&-
(Stem
/v/u*S.
~/te
/*
j? a/thy
&
i<i
wrxtt
cJ*>v4-
nitinne
4<'/{/'J-t
<
o^r
//.
^cA>y~
'
tr>
fen /*>}'
,,r-vymy
'
{*>-(?-
Tat are these people the parldigme of the stages of development? The evidence would seem
to indicate not. Don't all of these "occupations" eppposedly acceptable to
"free entry (and exit) juat become a matter of choice and personal preference. And
what arwe the character lstslcs of the situation that come to be characterized by that
choice, lot particularly Inspiring. ThesmmmsP#vy socialist state la one of no
competition and no development. For all the vertuea of paclflcty. It tradlt iojally has
not been very effective. Or has it? Things, changes If thla magnitude, cannot
happen overnight. There has to be a huge commonality of purpose and that takes tiae
to generate, but once generated. It is very hard to change (here I an talking about
style)
An
rk-
*}
-uu,
left:
tlMy
*.,
flod out
+ M u mil
ud
too
ue<
^ ^
relatively simple
firsi
in
the
Green
artisl to write
G,i
about
ait
in
thoughtful analyses ot
reads as follows:
Hamilton did
late
much
i).
emerging
inrcr beiies
an insight, presi
ieni e.
glib art
and syntai
til
demon
mythii
jutj that
and message
rum
x * v
came
that
writer, Morris
KOI
was
to
in
no small way
With
to the
.1
almost
<<>r
an artisl
IOKHIH
re exi itina.
Ri<
.1/
r/fic/sm
world
sty/a thai
rlff<
ism
fs
one
ot high
hard
sensibility in the
to tertilue Morris's
George (Kubler)
/cfbL
+111^''^^
Art
If the above logic Is true, why an I waatlng ay time sfhc crlticlal edge.
Us the
next step away form being a scientist. Although the scientists may be our only canxhe to
jump from sclentlast stgae to dlety stage, artists may legitimately think It may not
be able to be done, but that's really nineteenth century. The truth Is the artists have
.-.
crcf&c
<*Y~
Madrid
and II.
is
mechanical
theory.
II
In addition to the
Forster received
"Item.
Vienna.
and all of the books the Testator has at the present time,
and calling as
painter."
In a
in
that the almost 6000 pages that have survived after countless
Of Melzi
's
is
known.
It is known
's
possession.
Florence.
is missing today.
the material
used by Melzi
The vast
CD
left:
Author's unpublished
untitled sixth
p.
1.
essay
parallel
text to appear
Vinci's
in
the
left
column
<3>
final draft of
is
provenance
of
in
in
two
length.
The
Leonardo da
i.ie
at the
one
of the
in
in
Morris's transcription of
audio-performance elements
of Voice,
A chronological
which describes
a childhood accident.
right: Ibid., p. 9.
Mum l>w
p*it*vi
mtuJM Jl
Since 1958, Morris's preoccupation has been with the concept of art
rather than with the for* of art. or put another ay. he has consistently refused
to recognize any foraal
to
Rather than concentration and the clinactic incident, his career re-
or content.
a?
.V^>"'.^
remarkable equinimi
t/
Hs4*fl
.rectsely because of
Mm
betrays
diversity. Of his
sculptures in the 60's he has said that he was ciost interested In "their physicalthelr presence.
H irh MuJt
loi
Onon
Tr.nr.
urtr\
.Ml
ntujl
VVh.il
ulLmAUnm.il
ni t*n
f\j(>'f
IWI
*ni plvn-
the atomic bomb with pieces like Sketch for a One Megaton Tactical Weapon ,
It.iurJ.
nan
it
lh*'
4rj*in
tmmmmmmm
Little Boy" and "Fat Man," the history of the Atomic bomb development
Jpture
>.
to
the concept and exercise of art- such as process, material, the variety and mechanics
left:
December 1981,
Moms
x x v
it<
ih
29
of
p. 3.
The Drawings
ii
1993.
MUHHIN
njildrrun
>
be
Although he may amtmme willing to Identify his motiva-
bcxirvr-k trv*\
'
possible, that art can be anything; but that is precisely not to say that for
Morris art is anything.
munul
jiiimjl*
Museum
Wmw
vj
sunu'd
in
hLuk
MrlDhottl
WW
drained the activity of art making of values is the ultimate act of valuation. Hit obftcttve it to
appropriation, resist understanding, but without ever relying on subterfuge or misrepresentation So the
for him is a continual play with meanings, conscious and subconscious, exercise*, processes,
experiments, mobilizing his strengths through the accumulation of work and history, leaving an
intellectual imprint rather than a dtscemable visual style. Hit it the contrarian's response to changes in
1992
game
ITS
In 1923, when Marcel Duchamp stopped working on his masterpiece. La Mane mise d nu par ses
celebaires, Meme, it was his intention to publish, more or tess simultaneously, a collection of drawings,
and photographs related to the conception, development, and execution of this difficult
and complex work. In fact, although tlut work was produced over a twelve year period, Duchamp saw
the efforts of these two parallel endeavors the actual object, on tlie one hand, and its process
documentation, on the other as a single, unified work of art. But his intention to present it as such met
with difficulty. TJte work itself resisted definitive completion, and progress on it was intermittent (a fact
that was perhaps most dramatically attested to by Man Ray's famous photograph of dust gathering on
the surface of the targe glass dust that had to be carefully lacquered at two month intervals to render
the seven sieves in different degree of opacity). Physically the piece was large, unwieldy, and extremely
textual notations,
that lapsed between the exhibition of the Large Glass and the publication of the Green Box, the
interactive complexity of the unified work was virtually unknown, and its conceptual brilliance
unappreciated. Even then, notes George Heard Hamilton in his and Richard Hamilton's 1960 topographic
version of the Green Box, "Duchamp's elegant invitation to the reader to thread his own way, with the
aid of the notes, through the artisfs mind went unattended by all except Andre Breton." Between
Breton's percipient essay of 1935 and the Hamilton/Hamilton commentaries a quarter century later, critics
and art historians were virtually silent on the topic of Duchamp and his masterwork. A war intervened.
Picasso, surrealism and abstract expressionism
moved
came
to
on.
12. ANALOG Y OF THE TIME CAPSULE, BACK TO THE LARGE GLASS. MORRIS AS AN ARTIST WITH
AN EYE ON HISTORY; RECOGNIZES THE IMPOSSIBILITY OF INSTANT COMMUNICATION AND
THE TRANSFER OF MEANING LN PRACTICAL AND THEORETICAL TERMS, SKETCH OUT THE
FUTURE MODEL OF READLNG MORRIS'S WORK THROUGH A INTERACTIVE DATABASE}
His feats of making are prodigious, and he has written extensively It is impossible to engage and
surround this material in any reasonable detail, subject it a critical exegesis, and reduce it to m
convenient series of statements that capture its essence The most significant aspect of Moms's oevvrt,
like Duchamp's Large Glass and Green Box, (besides its richness, complexity and tubfettivtty) is its
interactivity with textual and conceptual reference. There is, however, a logistical problem. Duchamp
made about ISO works; Moms well over 3,000 so far. The Large Glass was a lens, a filter, a lighthouse.
a point of reference for the rest of the work. The sheer quantity of Moms's work, the force of his
personality, and the difficulty of lighthouse construction in contemporary society has removed the
possibility of a single work in all of Moms's oeuvre with such a towering presence
Therefore,
Moms's
Large Glass
is
To see
it
to realize its
potential use as a reflective device, a mirror lens through which to scope the relentless activity of a
remarkably self aware artmaker in a given chronological and historical context where transcendent
meaning has been drained from the basic activity requires a new technology Imagine this Thirty years
from nolo, squadrons of enterprising curators and art historians working for the Guggenheim la division
perhaps, of Time Warner Entertainment Japan) with far more computing power and efficiency at their
fingertips then we ever dreamed of in 1993, will undertake to organize a vast hypertext
catalogue/interactive database of everything that Moms has ever made (and make no mistake that this
is an artist of prodigious output), written or recorded, and everything that anyone has ever said, recorded
or written about him. Every photograph, film and video tape or disk that contains an image of Moms
or his work will be added to the great concentration. All the information will be catalogued, indexed,
cross referenced and stored. Visual Designers will be hired to develop story lines and shape the vast
quantity material into an HD-TV spectacular at the high end, a sort of tatter day Masterpiece Theater
Supplemented and inspired by those works of art that are actually available and on view in museum
collections that wilt testify to the power and necessity of direct experience, the vieweri reader will hare
access to the thousand themes of Robert Moms. On this giant interactive video game, the Moms psyche
will be exposed. The tapes of Voice and Hearing, the story of his childhood, the thousands of minutes of
interviews and performances from the relentless progression of residencies at colleges and universities
around the country, the articles, the reviews, the commentaries, the grocery bills, and the tax records, the
snap shots and the target from that summer day when Moms and I shot pistols in his backyard. But God
is in the details, as Morris well knows, and it wilt be an enormously engrossing toot. Subjects can be
scanned, computing is instantaneous, Moms and his art will be more susceptible to understanding and
appropriation than ever before. Did Bob plant this time capsule.
Any
exercise in analysis ultimate ends in self referential subjectivity. Understanding and knowing
demands appropriation; the "knower" is m a superior position to the "knowee." Moms resists
appropriation and understanding every step of the way. He knows that the ultimate power of his art
resides in its inscrutability, and that once the paradigm has been defined, inscrutability vanishes TJie
conventional approach has most critics and historians assume that the artist has a consistent message
that they want to convey, and most artists act as if that is true. Perhaps they lack the verbal and
analytical skills to accomplish the full communication of their message; perhaps the message is simply
not powerful enough. To sell and survive as artists, they must engage active collaborators in getting the
message out. With Morns its more complex. He regards himself as an intellectual superman and a
physiological everyman. He is always just one step away from the ontological quiver. That he has
13. NOW IS NOW. MORRIS'S OEUVRE IS A SINGLE WORK. JUST AS THE THE EXHIBITION AS
PART OF THE PROCESS. THE WORK IS NOT REDUCIBLE; BUT, THE MUSEUM THAT HAS THE
BEST AND LARGEST COLLECTION OF MORRIS'S WORK UNDERTAKES THE ENTERPISE;
MORRIS'S COMPLETE WRITING ARE SIMULTANEOUSLY PUBLISHED (title is the k*yj; THE WORK
IS INSTALLED UPTOWN AND DOWNTOWN AS BEST AS CAN BE ACHIEVED UNDLR THE
PHYSICAL UMTTATIONS OF THE EXHIBTTOIN SPACES; THE WRITERS WHO HAVE BEST KNOWN
MORRIS'S WORK ARE ENGAGED TO WRITE ESSAYS; ITS NOT COMPLETE. BUT THE OBJECTS,
THE TEXTS, THE RESEARCH IS BROUGHTTO THE HIGHEST AND MOST COMPREHENSIVE LEVEL
YET.J
left:
Author's unpublished
first
right:
Ibid., p. 2.
THOMAS
K R K N8
nil
art now has in its hands is mutable stuff which need not arrive
at the point of being finalized with respect to either time or
the hand to the more dir ect revelation of matter itse lf, how
nature of
(From such a point of view the concern with "quality" in art can
changing from wood to marble and looking the same, or for the
conservative concern
^JV
an i-^i^lifY ^ "hanis,
left:
Author's notations on p.
39
Continuous
56
Mass
m x
HOBER1 MORRIH
JC
unfinished
definition provided by viewer
also need to consider way elitist subsequent artists also
complete work
7 3 Cubism tends to formalism vs. materials/process approach
Morris
Heraclitus
'
abstract art seeks to rescue its status from mere decoration -say it signifies something beyond its existence as mere object
and thus not to become what Levi-strauss calls the signifier
without a signified
116 effort to bestow on artistic development dialectical progres
is effort to deny contingency of man's acts
rationalize discontinuities
13
15
make
left:
for
Moms
Series,"
in
in
mas KRENS
k x x
ESSAYS
Ayer. a
true,"
is
the
to assert that
is
to
The
true."
is
is
think" part
think that p
"I
think
The second
it.
its
ol
riel
by itself
all
is
to
is
is
is,
this
is
what
Ontology,
floats
the
is
it
think
that
sense-contents
see x;
if
conscious-
pain.
The
may be
may be
(though
it
hear x
they
or
form
in
is
a series
notion
verj
all
in.
>m
there
when
Watt s
bj
in null
In hi
W .hi
.'
I
to
to
hav<
Kplain iIh
ili>
th<
ol
the
that
mosi
nt<
and
precisely
not calm
if
or tree
tree-,
e.ilm. or tree, or
at least
Hsi
ol
Watt in
in
is
ways
'I
ol
umstam
mt
in
this gaii
01
.111
ut
be-
w< n
15).
th<
thi
meant
philosophy's
And, thus,
to plug
it
perform instances
must extraordinary
own
"nonsense
ol
so to speak
tail,
is
and forehead
to belly
to
then
iln
1
ham
link
Inn
is,
the one
in
li
now
in
tin
otht
Wat or in a n
switch
si
rializai ion
iiiiiniiitiH
ul
hi
.it
ion
linguist
\i
letters
speaks
foi
in.
is
(In
01
her
W an
asylum where-
tin
resides
logii
ul
llu
this
two parallel
garden teiuc ol (In
the-
asylum Sam
insane
tin
Knoi
that analytic
ighi
any otht
Mi
is
opening onto
precisely the
is
conundrum
human
izi
1
(W
recourse to language
logical analysis
in
window
the
room
lather's
forehead,
Watt,
whit h
in
giv<
rh<
"
.
observed thai
<>r
my
infinite regress
rved thai
tsi
and my
and my mother's lather's and
insoluble logical
my mothers and
my mothers mothers
and
it
l>\
IRRIH
the novel
I ol
hav<
performanci
1
ham
com
door
rooms
into
no one has
elaborate
and
left,
theii entrj
way
for
or free and
tree,
it
(W
it"
and glad,
free
logical
fi
li
For
knowing
series,
mothers.
ol
ing
la>
beii
And
mother's tather's
.Amis refutation ol
now
mj room, have
pan
has
.in
glad, without
of
dismissed as
theii
Km was
of
so.
calm and
of
ol
being pei
is
in i.M
certain
instance thai
lor
mother's and
"sub-
oi
and the
languagi
ol
and Lo
Truth,
.is
medium
and glad, or
tree
least
at
my
response. Indeed
calm and
kit
calm and
intro-
ol
felt
and glad,
father's mother's
iinni.iteri.il,
It
free
Now,
met blows
perhaps he
and
that p.
Analytic
stance")
Watt
that
of the
dissolved by
"Not
lu
father's fathers
other unextended,
nose?
117),
yet. in
my
(W
remember x
bell
projecting tooth?"
heel?
my
set of propositions
external world
A
And
toe?
about
is
underwrites Episcemolo
ness
And
series:
"is
very
is,
)a\
it
ol
urs in
SJ
nta\ and
which Wati
must, night
(
162)
<
ionships but
the
h rough
o<
relai
nl
tihei
thai
is
ol
pan.
reb nodrap,
s >> thai
Sam
(W
me"
mental
pubis"
to
is,
Moreover,
mental
gait, as the
is
up
as well, conjured
a sense of
deux
The narrow
executed.
itself
is
tracks comprised of
make
Walking
moves
just
woman
former, a
and
claustrophobic intensity.
its
is
which
a third per-
letting
is
to
level, as
And
what
is
that
we
To hold out
for
a bat.
"what
down
list,
drawn up by
numerous references
writers on
to the
work of
New
Switch's unmistakable
more convincing
homage
context of Waterman
different
far
is
somewhat
thus to a
in the
and
is it
like to be a?
it's
of
is,
nowhere except
regress. For
is
which
mistaken about what
and
own
contents
is
it
to say that
is
sense, "incorrigible"
it
is
cannot be
it
that
it;
it is,
how
knowr'"
this
The
"how does
claim that
"I
in this
does
it
am
know?"
is
that
if
am
add
my
to
seeing blue"
must,
Thomas
like to
be
in
Suppose,
be a bat"
like to
it's
an example), which
Bat. what
its
to its
by examining
brain states.
it's
jectivity can
H.O or genes
to
really
first is
when we want
course, to stare
far
will
an irreducible,
is
its
165).
Now, "pubis
consult or to which
allow
me
to
is
compare
that would
I
toothache or of blue.
what
it
would be
But that
is
Nagel
its
is
not very
like for
me
feet in an attic."
to
I
far),
it
want
to
know what
think, he
It's
on
is
be a bat."'
is
Whatever we
the story
tlic
of
the
back
itself
would
Box with the
Sound of Its Own
Making
man who
supported
of a
how
is
,isk(
.1
turtli
//
.ill
"
would
Ami when
'Bui
be supported?" the
man answers
turtles
that turtle
p< rsists.
in
which
when
..iicii lii
tli.it
only
it
to
Ir
can
me
may
tells
the Wa}
ROS
( ,
problem:
his
how
first
it's
down
:i
mockery
It
roughly
skull
drilling,
its
its
its
hat
\\
this question
however,
box
ble
seems to
is it like," it
That
a
be
say, "to
No
Card
public
can be
is,
kind
mod-
of inferiority
object's
own
like"
simply the
is
clear
is
as
tin-
0and
oiitamniclK
selt-i
of
multitude
Card
as
tl
performs
it
kind
oj
COgitO
of
F6l
onds
its
of
minds and
i" 'In
ami that
lluil
/.
with
tht
'.'i
IS
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its
tin-
mind ami
activity itself
other makers,
iduI
anoi
In
lime tor
'ii.ii
was
exhibit
first
produi
lie
in
Own Making
lh
a/
ion oi
photograph
.1
in
v. .J
\i
K-.
.ii 11.
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work
puncturing
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with
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lull .Mi\
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containment
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bulb
light
(lit
bull)
ting iln
woi
an.
on
which n
in
seems
also
11
in
like
do
do with Beckett, the
employed, has
is
to
to
less
sell
parades us
issue,
at
own presumed
An
sell
same problems
ordinary
of infinite
containing
tile
flat
onception,"
"Purchases")
"<
is
Mm
its
(foi
entered, iln
similiar to thai oi
Making
ot
of
work performs
with
/>'"\
this time,
Sound
th,
specifically
critique
oj
//
Own
indicates
that
paia.lt of linn
bj
six
An examination
by
earliei object
th<
Metered Bulb
Own
oi itseij
in reveal
sell
si l!
11
tins group,
Sound
//<
photograph
of
own process
Photo Cabinet,
in
/A.//
tivities of
a<
refereno
sell
of
box "contains"
tin
is
it
carpentry, bur-
of
Making,
career.
<
Own
1990, has
of
Blind linn
made
"Notes,"
Sound
drawings
Duchamp and
tht
to the
of
Investigations
OHS lousness.
continuing
drawings
autonomy, or
in 21,
mock
to
performance, as
of
(19C'''
idea of the
seems
also
it
terms
public view.
iirther, mil
in
"privileged access"
full
knower
to the
in
Filt
work both
his
because
is
response.
in fact built.
to this,
known only
was
tht
with Card
the
of
Box with
shared events.
of
The
<:
To
file
box'"
literally conscious;
0i<
of course,
to transform the
It is
dependence had,
of this electrical
Sound of Its
from subject:
is
is
can't think.
is
human
hammering,
ing,
in
er, that
In
11
the same
mi
Watt
(
> t
kmd
ot
ha.
One
been
ni
III
oi
aids
.
eonin ntt
iln
loose
being performed
is
categories
oil
lllelll
categories,
numbei
these note
iln
elllles as
111.
foi
\4
which
111
foi
is
proci
(he world
example,
of
is
generated In Card
File.
Another category
number of
the
accidents
we
in
which, in addition to
number
of
of mistakes
(1),
numbered
things
"Number,"
categories,
(2), of
of losses
(12),
is
and so
(14),
of purchases
(4),
forth. It
(4),
of
hard not to
is
conundrum Watt
elaborate
how
he wonders
tries to solve as
eat
which
somehow played
is
"wordy-gurdy,"
tin-
through his
harac ters, as
<
finish
say I,"
I,
"I'm
words,
ground
solutions
itself is
had
wmt
done
so,
oj those
doubted, no.
having
It
itself
Number
Solution
That there
is
on the
I,
2nd
3rd
stories
Number
one must not forget that, one must try and not
me
them, by
of Objections
the voice
it's
..
..
who
want
say "I,"
impersonal but
insistent
my
walls,
it is
to stop,
that con-
not mine,
14
..
can't stop
for-
."
clamours against
tinues: "It
who
it's
oj Solutions
Number
spinning
es,
..
never
persists
of Objections
1st
..
this
is
stories
4th
."
.
distributed as follows:
these
all
all
differ-
prevent
can't
..
it,
it,
not mine,
It is
..
..
..
..
2 (W95)
have none,
is all
know
."
.
(T281).
resolution of the
The
inside language
when
system, as in "and
my
madness that
itself
it is
my
is
is
linked, in
generated
considered as an open
mother's and
problem"
to "solving a
and
my
mother's mothers
."
.
what
might be relevant
Unnamable
on"
as
but
"you
in
Watt
when Mary
is
must go on,
still
it
has
its
go on,
can't
I'll
amazingly comic
go
cast,
mean
an onion,
first
and
way down," he
of the
something
in
the world
p, say
to a proposition
that p, say
we must, in order to move
from the truth of p to the truth of that />, have a
about/*
further proposition,
is
true
if/' is
true,
and so on
let's
call
it
which
itself refers to a
"Y
true
is
if
proposition.
Z, that p, ami
/'
are
Dressed
ironically, not
in a "professor
me
formal pattern
in
of
natural meaning"
tins
is
is
."
.
(W
50>
is
ter of
then
to infinity."
all
serial
of
meaning
is/;:
the
insinuated.
man on
greetini
colors
man
linguistics.
ami shapes
the strut
,
lifting a hat.
ru
in e
in
irst
lift-
w hose
endow with a
or that p. Then
which
I,
from
them
(call
was
lc
simple
truth: that p.
its
was
"something
as if
it
as
smoothness of language
mimed performance
the
fail.
As
when
the gurgle-clink-
And
of "dance" movements.
tempt
slipped.
bending were
lifting or
it
down
the street or
was
same con-
in this
Mind li
a Muscll (the
title
is
plywood panel
is
removed,
as the last
Manet's Olympia
nude posed as
is
lies
But
if inferiority is
move from
anil
we could
to that
/'
own
affairs, realizing,
its
would
observed objects
falters,
to
justification,
own
its
Since
body
of a dance of ordinary
manifesto
Dance The
extreme reorganization
iyr>()s
underwent an
1'orti,
new conception
this
dance
of a
gath-
New
York,
ordinary movement,
of
way
make
to
"interior
was
ot
gestures,
Balletic
nlled emotions
*&
the music or
ol
ot
established
The dan<
im<
Si,e
would
the body
tin in
worker, or someone
ing
down
of
ordinary
ol
walk-
iust
movement" the
with
notion
is
its
(win
ii.'
tin
noi
iiln
i.
te
nothing bui
which
word
is
KOI
<
n>
is
alone
publii
haw
I
access
ithi
iRRIH
us<
of
that attracted
itself
its
behaviorism
its
word
To know
ture "i us
refer;
ii
something
implementation
oi
to
hec k
is.
don't
"i
to
the
<>!
att.uk
ot
balletic
the
1950s In
A wcuk
like
Icilinss
at
/),;/,(
smeared
the
"i
and unci
paint,
it
he
canvas
moves,
mocks both
us putatively
<>i
is
which
rotated
circular swathe
meani
the
such
smear
private world
:nh (1959)i
presumed expressiveness
tuiiciiein oi
out
us midpoint to
and
tly
Unable
orrei
need to stage
certainties ot linguistic
li
private,
other things
produces
hi
and
Beckett's work.
civi
thi
work
to his
<>t
ii
ii
pit
funi tion
wholly subjei
ol a
Wittgenstein as saying
noi to have a
is
mind
in tin
they
what
he meaning
would
in
en
la
extreme ordinariness
formed through
hi
is
New
on the virtuality
ludsnii dancers wi n
of
own
"Specific
more than
stairs
tin
embracing a danci
M\
without
lor
ordinary, nothing
In-
er,
md
It
among
body nor-
er's
in Morris's
out of Morris's
pre
Objects."
ly
the dis-
of
movement
Minimalism, whether
of
ater collective,
it
felt,
an inner meaning:
of
who
joins her
in
only to be rejected.
is
it
flesh
is
of the inferiority
referred to,
Olympia
Site's
"gesture."
is
wrenched
ol
feeling
own
initial training as a
mock
units
And
ordinary movement.
he considered the
mark
pictorial
it
artist's
was from
problem of how
to
make
a solution that,
such
must be
invari-
meaning
which
as that
allow us to
know how
to use a
word
instance to another.
short to the
Fluids, body
in
mind/body problem.
own
The double
filiation
MUM Mill
pursued
Duchamp
in
the page onto which, over the course of two and a half
we could
say,
in 1963,
And
of the
it.
is
early analysis by
Self-
Portrait
as to declare,
(EEG)
(EEG) has
most important
its
far
a text,
is
Morris's uniquely
historical writing
on the development
personal accomplishment.
While much
time
Dada concern
it
a brain?"
Contemporaneous with Self-Portrait (EEG), anothwork associates this search for a device "to make a
mark" not only with the mental but with language.
Morris's Memory Drawings, based on a page of writing
and by so splitting
er
that
summarized
current theories of
his
memory,
rioration of
recall
as Morris repeatedly
initial
attempted
to
the
postures
abstract
it,
first
common
B C
concern
among them
paint-mixing stick
as his
reference to
Johns used
given the
a ruler instead of a
title
ization of measure.
Duchamp's
the shape
assumed by
dropped onto
a surface
It
made by
own
recording
manner
a set of
artist
maneuvers, resulting
in small-scale,
then
inert
works
elaborating, two of
Duchampian
no internal,
it
is
Duchamp and
Russian Constructivism
Fountain
of his
( )t
the six
Morns
parency/reflection
them
(.is
in
th<
trans/
ROSALIND KRAI'
object
function
one
is
development
when
(as
direction of his
in Statement oj Estbi
ously
Duchamps
in the
suggestion
had extended
the air")
oft
work, and
tive
own snubbing
based on
style,
Michelson's
guage,
Duchamps
of
as this
in
itself
list
conceived as a self-justifying
ity,
much
that
posals
of morphology or
field of lan-
decided
famous projection
as in his
for a
"transformer
Portrait)
laughter.
the
dropping
of
linguistil
earl)' as
mediums
to be
added
which the
in
traditionally performed
its
iihllessly
But
Duchamp and
if
who
wordy-gurdy
sees the
drum
only he
is
It
juent
Rainer
among
mere sense
Some
I'hxi
and pi
.
in the
ui
with
plat
endless
its
'
was
tin
</<.///<<
ami
diary
oj
oj tht
u\i
Parts of
fot
illnesses
banality
oj tht
and
an tighteentb-
oj
J noli
of
makes no
paralli
hi
pan
th<
bi
rwi
in
"i
n the
iii
'
them
'
>r
considet
eai
lllllS
what they
arl
on then
hei tex(
dam
er's
Id
-.hi
Row opens
conjunction,
itatements
the-
stani
in
which
rs<
of
ironii
Andres solution
kill'"),
she-
li
lor
with an epigram
other,
lum
sides,
body
<>n
and attacked by
lions as
kind
S,
with
the
mind
of
infinite regress
on
common ground
all
tor
oi
w.ii
al
on
"a
quality
pineal eye
And although
to
is
is
of
transportin
/'/
Tht morbidity
namely,
physk
becoming m
"musical accompaniment"
chost as
Sextets,
the dancers
dualism
she-
/>
process and
own
its
cube
action
of "turtles all
operate
"Duchampesque speculations on
either
tht
in tact
Rose
up
cube
tpond ui th or contradict
will
infinite spinout.
whic
conun-
to say as a logical
is
that, tar
only Beckett
is
it
unsolved.
the
confidence in the
t,
New Dam
permeates them
relations"
into the
ideas
oj
in
This mip.u
lies
"In
Watt
Malone, or
of
Murphy,
[Beckett's] spaces, a
)<>1
had somehow
field
,i
i.
(a
That the
nails.
as:
the growth of
of hair, of
tall
as
smoke
head
artistic activ-
Duchamp had
If
As important
the
silt.''
constitute
version of the
tin
it
and us
mode
i.il
ni
of this rehearsal,
nature
tin
within
ot (In
endlessness
.ill
however,
bottles
ol
and
(lie
the search
is
taken Up by
the
set
mental substance
Further,
as his "dance
to be seen
ribaldry.
was
tall),
minutes,
had
to
it
remained standing
was offered
it
for three
and
intentional
one property:
the gestalt.
was
It
in this
fell
was
To this
testified to
is
Minimalism,
the
its
That
over.
"know" them.
that
a half
thing like
it
"There
of course, what
are,
movement
experiences' of pointing to
topple
like a cord
it.
would have
to inhabit the
(like
in order to
(e.g.)
make
column and,
one points.
one's eyes as
at the appropriate
But
S ab
this
moment,
When, during
this resulted in a
rehearsal,
column
manipulated by
was
a string.
still
the
meaning
clear.
But
istic
process occur in
Watt
"endlessly
supposed
than
Which
how
down
to nothing but
make fun of
anything, intended to
dualists, gestalt
is
itself
the
way down."
we recognize
referring to a mental
and,
set of totally
to
know
that
in order to
we
it
seriously, there
nothing to take.
is
That extreme simplicity would reduce the experience of something like Slab to Michelson's "phenomenological firstness"
or the
shape
seems
to
own
teristic of a gestalt
is
that once
it
is
established
all
That the
of the lesson
pointing
or
texture,
image
or gestalt
right.
But
of
a square,
order to be
in
we would
correctly,
is
part
how
it
we "mean"
to; or
that we're
be a bundle of properties
dimension,
is
backed by
would we make
for
it,
Which
this or that
explosive impact of a
"
don't take
In
is
is
to the
regarded as a turtle
all
own
is
it
of his
is,
in the
large,
that
is;
it
and the
mute,
presumably not
is
what
to
itself."
Applying
''
are, if
Gestalt
these cases." 2
all
'mean
determined.
and thus
which
cases in
all
whole matrix
more
of
tin-
insists,
frequently, a "language
a finger
pointing
is
game.
pointer'
is
"form
And
part oi
of lite,
further,
ROSALIND KRAI
'
as
called gestalt.
What
game
opposed
pressure
own "Notes on
pressed. So
us.
it
be a body
like to
is it
The
shown
is
/tit" part
is it
may be no
thereness." There
is
"gestalt of a gestalt" he
formal relations
if
is
make them
The
and
"firstness,"
permutations operating
as
space and
two properties
to the
add
light
its
is
Hand and
like
Holds
Toi
instead to
themselves
hands and
feet.
him
in
Hun
variation.
shape
variation
it*
a function
is
who changes
l>\
his
although
was
And
as in Fortran.
these
another form
took, beginning
ir.H es
\|m -rieni
(it
leaving us
ii.'.
ol
contact
ow
ii
thi
v.
and.
that materi-
deformed
itself
ted by
inflei
Pageway
mark on
being
al,
LI
or
These are he
bodj s membranous
ii
n h an exterior, as us
oilier surtai c
is
pressured
nnamabli
on mj
pressure against mj rump,
knees,
ol thi
nisi the soles of mj E
unsi the palms of mj
hand., against my knees Against my palms, the
ni
is of mj
1, against mj km es ol mj palms,
but what is
that presses against mj rump, against
,n re
ribes this
n exerts
know
am
Bet kett's
seated,
the
narrowed
it
to nothing
neo-Duchampian gesture
my hands
This
of
make palpable
around
ai
ol
\c r\
(1961),
Passagt u ay
first,
ot a
which
between
as a reciprocal pressure
into 1964
the end
The
walls
deposited
at
different means.
changt in position
is
it is
"''
Haptic The
performed the
it
stairs.
at
traces
walking up
task:
the viewer
relative to the U
oj their
its
which
in
it:
lead in
which two
1964), in
warm
performs
performance"
works
oi
it
its
and
itselt
space
the-
it.
made Pim
Portal, a free-stand-
The work
through
it.
In a
is
meant
piece
of
that
the-
"trace" of one's
it
outward from
memory
one's
appeared
ot
weird
in one's
extending
trail
kind
like a
door-
the door
unloe atahlc
terimage:
al
it.
What
is
it
ot
tiki
one's progress,
tO
be-
body
hi
loles "i
ii..
"pri
i.
ed
pun
iuch
wt could saj
Lining, isolating
creates
it
as a
corporealit)
i
a hat
10 ROBBR1 M"i
E(rat
Kemonstrandum)
might
h
bi
is
an awareness
kind
sell
ol
bound
collet
and present
(ot
tactili
ma ry
ive
ended
ret
Box
the rubric
structu res
which
of
JcDD, Donald
Bod) contact
it
BOX
Q(uod)
in a
museum
to
pi ion ot
due
I
misleading path
debut
Ins
nde c
sm made
he
in
e
lit
it
wink dow n
ol
1966,
an aesthetit
the-
ol
we can
It is
same idealism
this
If
Minimalist
tended to work
artists
in series,
was
it
realm
for
and
first
kind of
series,
Which
of
vision."
this
is
permutation
But
their variation."
a function of
is
far
or reason that
istic
based
is
LeWitt
as
-"'
world's like."
idealist,
he
object
example
taken
And no
matter
Minimalism
dogged
just as
in his
problem
it.
from
the
up
rejection of
to
order.
which
only
it
is
it
to be
ment" was
just as
ferent placements
much
and orientations
in space as
it
was
began
is,
to
make
You have
thing
a rational decision
think about
to
is
depen-
it.
it.
It
is
something you
is
on each time.
In a logical sequence,
a
^M
Two Columns
Hot
to
window
bi
and
to the
fire;
from
(W
\at.
fro,
Here
In
sense of the
change
in its
the door
203)
to
ted by ever)
infle(
placement.
examining
this Brancusi
knelt.
the
Hen
to the
be lay.
window,
window
to tht door.
the fin
to
to
fire,
the
cite:
window; /row
to the
to tin
object's shape
Here he moved,
new
The
Here be stood
irrational."
in
last. It
and seeing
inception in a prime
as in late Cezanne. As
Morris considered the prime object in Brancusi's
work
the ovoid of the head detached from the rest of
the body and presented as a separate whole
it
became clear, however, that the form of its "develop-
the door.
its
itself
is
classical land-
historical context
as in Poussin's landscapes
his art
Cartesian, as
the
its
Sol LeWitt,
from
is
That's certainly
from the
master's thesis on
example
Writing
persisted,
scape, say
Judd's
type of order
It is
endlessly.
description of the
have to
it
from
it
it
and
irrationally
of form-classes.- This
what the
finding out
reading
that justifies
pretty
is
much discredited
now as a way of
wrong."
itself
Kubler. george
how
certain
logic that
would ground
fire,
thi
bed,
/row
from the
tht
fire to
whether
it
an ob|ei
is
seen from
form nagged, so
"What
is
it
reflects the
///f-t
to be a
apparent distribution
ing split
it
between the
the upright
/.
appear-
ROSALIND
l:
II
and the
L poised on
the
on
lying
its
lightened quality
of the
side
its
resonates with
self;
is
sardonic account
its
is
is
of
which certainty
and
circles,
would be sectional
ovals,
more rectangular
freestanding to
its
example, an eight-part,
itself.
own kind
of insane reasonableness
at
concomitant sense
something
could
Mirrored cubes
By L965
transmute
turn transmute
in
it
Minimalism
in
which
in
with the
effet ts ol optic
illusioiusni
.il
ot the
mark.
Williams Mirrors
installation in
opposing walls
were accompanied by
ot the gallery,
at
an angle
haw
front ot each,
in
ot
frames
The three-dimensional,
Two
monument.il
ot
sp.ui.il
impossibility ot a straight
(I
)"),
Minimalism
ing
reflective
slum
ol
Plexiglas
to
empty
medium
into the
and found
(like caves) In
Convert the an
straight
line ot
ot
societies to
prehistorit
,i
to
tin
basii
stria
llii.
hum.
tin
i,
tout
first
ing
fa<
ol
.il>\ss
mon
tin
It
in
to
whuh
is
to say, ol entering
nun which
than evident
exhibited
l>lo(
'I'
in
1965
set
part
ROBER1 MOI
mto
to
think and
text
ot
mark
that
one
inn, infiniti
the object
in
bj
itself
<!
n [tress
seemed
in
the
It
present
is.
<
as
perhaps,
l'
'5
to see
he
pie
it
in
in
Pel u,
ross fire
absorbed In the
its
ol
line
this
to
Morris's Mirrored
[rapped
up
mi;,
whuh
ot
tin
"engulf
tun
clarity
reflectivi
vanish was
(.a In
swamp and
(1971)
ot
Observatory
is
this
of turn-
and thus
line-
work
ale
volume
cubit
identity
self's
just as easily
which could
else,
coherence and
possess-
projecting
into
production
at a
something
Mirrored
after
to
Ten years
like
to
were shown,
into the
reorganizations.
But
mind
tor
fiberglass,
has
the capacity
interpermutational
wedge.
it
Stadium (196 7 ),
In the exhibition
cross-
its
to an
a linear
formed something
it
spin.
its
away into
linear trace
of
plexity of the
in
makes
trajectory
a
form
mirror displays
that
Beams
could be reorganized so
L
kind
infinity
The
defined
is
the series.
[b
this
iiiim-i v.iiin v
.1
hand
lines
ai
in
ing
an .uh
t
lent
order to
pco
own
make a
he sun's
Quarter horses
enigma of these
seems
to
plained talisman.
lines,
text like
its
own kind
of unex-
was
stop
"I
am
was an old
refrain with
am
of the
Murphy, and a
little
world."
conviction,
The other
it made
that
material
Pollock, jackson
from
55
is
is
no
Pollock's,
comes
This was
seemed
so,
Some
art,
such as
close." 56
sup-
yield
and
gravity
to
forcing
field,
plaster applied to
^^V
(^^^^g^\
/ \
j
"rationalism"
is
jP Hlflfe^.
1968 and the second from 1970, stage this new phase
is
J^
first
its
is
now observed,
paint
form, Morris
make
two
'
for the
himself to drop
It is
time necessary
it
work
was
to
to yield to the
it
into the
ground. To
produce
art in
which "consid-
make
matter he was
erations of gravity
In the "Anti
to
Form"
essay, Claes
first
his
(1967), one of
absolutely coterminous
object.
Acknowledging
article,
it
Soft
and
Fan
limp
spaghetti of
gravity and
Giant
and hold on
its
Oldenburg was
its
Tangle
as part
in
in
which the
drips paint
is
a tool
it
is
it
emerge.
been inherent
with
far
in
And
in
the Judson
commonplace props
mance came
form of perfor-
when
naturally to Morris, as
in 1969, for
one
felt.
floor, as
ROSALIND
Ki
11
most
ot its
seemed
it
being thought by
Smithson. Robert
in
Monuments
experi-
Smithson's
monuments was
open grave
"optical''
bodily or physical
sing
don't
had produced
it
a cut.
want
it
would
By not cutting,
it
And
undivided plane.
a singular,
ity,
of
the visual
and
field,
immediacy,
of
the-
ot
own
the viewers
perception
within the
formulation
it
Tin
lengths
ot
tin
whi
could
to
maintain
drains oul
thi
of a systi
the formli
'
ni ss
m, and
arrives
Form
is
i,
ii
rati
parati
between things om
.,i
./
>ial
and an
increast
notion
of
of
own enactment of
alt Rundown I9i
his
made
"entropy
Buried
visible,"
\\
moment
might
call
in
the
the W
latefa
cor,
which
is
type
ol
serialitj
that
at
is
itself
Smithson wrote,
our plane
ol
'iits.
he
arr/tt
might advanct
sections oj
meanin
irregularis cami
plain
ot
the wall
in
the fabrii
or voids
but this
oj
unexpected
knowledgt
\ttomlt
./'/./
endless architectures
and counter-architectures
md.
if
then
is
an
reading
\t tht
lou
and
in
thi
and
desi ribi ng
energj
di
b\
r\\ itt's
distini
pli
ai
LeWitts
"concepts,"
ol
form
domain of gravit)
thi
rationalist
ol
supposed manipulation
wit
surfa
tm
diffi
ss
welcome
also
is
ssar]
of
n ntiai
onsi rvativi
in
enterpri
lii
extended
pit
la
Is
ol
Far from
Ian
fi
ii
difFerentiation
ntropii
ridors oj history,
unknown humors,
echoes,
and to
dd inter-
to get lost,
specifically
uts themselves
th<
entropy, in which
of
hi
ynesi
I"
the operatoi
he
onto
lilted
hundreds ofti
sand
disturbing theii
thai
ross
ing
it)
a<
fal
regular slashes
work was
slicing not
Systematil
of
n while the
metricallj
had
lint
felt
process
planar
whin
mn
half
in
sand on
an
form,
oi
rigid
were submitted to
sIk
vision
of
Pollock's
something
cut, with
th<
onv< ntionall)
vision
to
of
of
in
wbitt
tie-Id),
itsc-ll
and
entropic production
opticality,
iinbrokenness
itself.
division but
would
that plane
\tdt
had
to," he
it
was that
of
an
it
to
Knots
was
explained
to
of
sandbox, whose
it
bleed
its
said. "
frequently softened by
One
Passaic."
of
a child's
as
his
in
mirage.
"a
it
purely
astt
to explain
as
works such
ressively horizontal
anti-form
In
order
of
smithson
Ins
thread watt*
Everything
logit
insisted
LeWiti
The
dictory.
made
is
is 'lost
mess
in a
where
it
seems
to be.
is
As the body
tries to finish
dying, something
own
anti-form was
made
The
textuali-
explicit in the
which he
duced by
his labors.
mad
ty of Morris's
object,
how
regressive paradox of
its
fills
both
of these enactments
to be
is
found
Time
made by
attempt in
with plate
either
"uncanny materi-
he
It
was
or of
shapes to be applied to
(phallic)
the sheet
were pure
a case of
said.'
sheet of paper
itself,
found the
is
This
is
the image of
areas,
The uncanny, he
and
become dangers
in the
world
the vertical
for
enology of perception.
It is
and
a right, an
up and
it
has a
down,
is
What
is
logic of the
oneself
body describes
explained,
be a bod)
oil.
like to
."
.
ed from Minimalism.
is it
is
to
sions of oneself
and
command
front
what
say,
series
in a
"square"
we could
tries the
is,
what
These marked
".
another:
description of simple
ality,"
"making
also
geometries
Blind
mind/body
in
it
is
to
intentional
artist's
of reason.""
anti-form.
have suddenly
no longer
It's
of
this sense
around an opening,
1980s, was one torm
uncanny seriality.
in
in
Ir.inu
ROSALIND
Ki:
this
relt
which
of
from 1970
Felts
m
House
image
into the
(1983)
It
meticulousness
of
their
Minimalist
of
now
is
seriality
able
under the
the repressed.
of
may
turn
in
enter into
English
how
stood
(W
among
relation to,
iii
>>.
exhibition
this,
singly,
le
followed
"This
12
pronounced
(W
tart"
whom
who had
of the .mists
own
to Ins
',
An
and
h.
Hi
Oxford
Rosi
'
>.
Notes,'
\n
in
mpia Press
<>l\
Hoefei
.1
study "i U
was
tit
il
firsi
t" placi
|ai
qui
.,t
tin
ract
and
l.ii
Rosi
10
pp
Cambridgi
Nagel
early
to -in undi
inn. linn
In
he
.it
Duchami
\.
Administration to
ni
.iii. ti.
Buchloh,
Bf
in
\ted in
'
ritiqui
a luriti
1962
13
semiotii
.i
with
ni
of [nstitutioi
..i
iii.
I,. i,
.ii
in |oi
n
iii,
win.
to whii
It
inn in rnaki
Of all
ti
drawing
1.
li
n|
lo in
1.
rring to othi
by
losed
In
it
M,
n,.
it
1.
Noti
m lopmi
speaks
inn.
1961
I"
no
14,
An Aesthetics
v.
li
(Octobei 19
rransgression,"
ol
ot
ol
on
Man
1',
d in ludd
qi
1964), n p
I,
idptun
Si
describing
thi
<
multiplicity
Rorty says,
paci
is
made
e)
u
is
(February
'
synthesized
ncepts
ti
nfin
e
i.
ni
ms
(embedded
ol
sunn.
cannoi
I
whicl
si
thi
1.
sit
relation to the
Running
versus sin
.,i
whi n Ki
h 'I"
thi
is
is
given
laim thai
..i
singula! presentations to
brought to consciousness
representations (unnoticed by
rintoom many
I
lrti
urns to knot*
in intuitions)
Kani
relations
tivity
Galleries,
p. 11
18
collection
intuitions
.i
mind/body problem's
assumption
.,
by
il
In
1965),
16
hai
[contains]
sense,
in ibid
.1
ol this issue ol
no
19,
icepts) as analysed by
li
in
run
!84
Galleries
In
Richard Rorty
unless
fi
nd thai
Bui unliki
tin
id its
di
19)
"Wayward
the top ol
ai
it
Morri
first
1990
ii.n
tti
\ri
Robin Morris
From
1969
ill
mi
An
traditional
.is
..i
of Morri
Conceptual
thi
Duchamp's
fun ing
as
Lahyrintbi
of
19,43
nivenity
relation to
form
191
1),
he also places
as
Robert Rauschenberg
Michel
ed
Silltr,
,1
Michelson,
|udd
11m. tn.
p 50
rransgression,"
ol
lb*
.Mt
it. ih, s
Watt
See Hoefei
tlu
Nova
B9
19
thi
si
tin
by
8(1965),
/''" s (Halifax
!94
ritical
<
maliim,
Hen
no 6 (February
i.
lr* Yoarbooi
Aesthetics
18
l>
195
Artfimm
pp
I),
them have
ol
B(
[bid
(New Vork
an
number
ulpture,"
MorrisAn
Michelson, "Robert
Rosi
-iutk
kett, U
know
28;
Minimalist
14,
IV Duchamp,
25).
X, Y, Z -...
relates the
ol
Ruben Morns.
Robert
Corcoran Gallery
is
then adds,
One
p. 292).
rransgression,"
IM
[Washington.
task performance
ol
sin
Am
i< ollegi ot
13.
resembled the
it
Aesthetics
Critical Anthology,
Inverted Shoulder
.i
true. In tins
is
it
.itic r
An
seldom
but was
it
i.u.iliii;iK
to Al.un
sensibility
pp 222
in
il\
1966), pp
Watt's smile
Hereinafter,
Themes in
12.
s ~i
S56
.is
two
the
>.
early
23).
\i
French in
work
l)
statement (p
267 and pp
1968],
was done"
it
of
in
English trilogy,
Ironi the
.ire
Molloy
Erwin Panofsky
9.
An: A
17
published
lirsi
read" (Art in
citations
(p
\\ ittgenstein," she
had
pp 16
Beckett's
The above
1959)
follows: "wordy-gurdy
Watt - "Watt
as a trilogy,
which, however,
Mark lour
trans
10.
Shoulder (1978),
of Stn<i
Press. 1990),
0,
Tbt Logic
Calder
is,
of
sign of the
explicit
uncanny body.
petals of the
These
never so
of the vetti
to restage the
and
of the decade
on the
swells
in tbt lar:^
it
Ilns
random
do noi enact
repetition, they
laims
itituted
w
is
batches
iup|
by our own
objects.
is
it
cannot dissolve, since only as having been combined by the understanding can
and
Philosophy
to the faculty
of representation (Rorty,
the
26. Rose,
"A B C Art,"
291.
p.
Jewish Museum,
mounted
at rhe
in
New
Systemic Painting
was
News (September
30.
Yve-Alain
Bois,
quoted
in
Perspective (Seattle:
my
Work
made
ed
in
(New Haven:
of Constantin
New
York University
Moms,
p. 25.
35. Morris, "Anti Form," Artforum 6, no. 8 (April 1968), pp. 33-35;
for the
Beacon
Jackson Pollock:
p.
An
(New York:
American Saga
White Smith,
535.
my Optical Unconscious,
MIT Press, 1993), pp. 243-320.
Smithson, "The Monuments of Passaic," Artforum 6, no. 4
(Cambridge, Mass.:
42.
in
pp. 56-57.
43- Smithson,
International
p. 67.
in
in the Vicinity
of Art," Art
Owens, "Earthwords,"
44. Smithson,
October, no.
"A Museum
10
(fall
pp.
24449
in this catalogue.
Psychological Works of
Sigmund Freud,
ed.
James Strachey,
for
vol.
17
Pscyho-Analysis, 1953-
ROSALIND KRAUS
WAYWARD LANDSCAPES
seem
not
to speak, it is
Morns
In 1973, Robert
Nazca
lines.
I.
year
about me.
most
made
tor
own temporal
The description
Morns provides
repressive,
centers on
between the
dialectic
.1
overpowering verticality
What
Nazca
publicness;
its
phenomenological passage
model
be
scientific or
anxieties
mathematii
as the
spate, in ettct
the art
t,
involved
ol that d<
adi
of
modern
sot letv
Ould offer
moments
e,
was
iewet and
wedded
at
museum
little at
ess
ol tin
ami
.,i
.1
object
objei
oltl,
the
in
logic al
iui isi
rui iion ot
.il
in
'
nil'
Insure
ii
.i
uion resonant
;upported
problematii
.in ot
In
lisi
art
over) in
h<
si
It
In
ape
in th(
wt
n ch<
abstrai
ii
inabilit) to gi
'
at thi
si
spai
inoiion.il
.ii
and
w nh
In
si
ch(
al
the self."
ol
humor
that define
cion
and
lives ol
isual arts:
when
space
itself
model, he looked
is
once
at
intellec tually
real, a
in the
own
it
pain and
it
II
bet kett's
nevet to
where people
oppression that robs them ol
is
or
also a place
tins
iln
e ol sell
idea ol
hi
iron)
agmi
i.i
is
ii
onl) aftei
we accept
the
ot
st 111
identity
mod
in. ii ioii
is
d( lint
he had embraced
d through stairs
ol
ol
the
unity
world,
exposed
sensor) experience
physii
also
it
world that
condemned
semblam
of how
ts ol
ilit)
w< n
n lation co ch<
mi
ot a
milum
aspet
center,
i
nam
entered
world
physical center
ironic
its
lab)
is
in circles
ndered
ngi
and
and
losi
ever)
ult
universe
when
Morns ultimately
lives
a
and viscerally
an both
earl)
,|
world around u
ii
mi
iIh
toi
in iln
i,
"solipsisi
i
iew
mi!
oi
our
ol
exist in a
confusion,
d on ai ritic al v
while orthodox Minimalism
objei
were built on
t
art ol
ol
allowing the
1
to the barren
in
ol
tin
tti
art tor
ess
me
st.
.on,.
and even
tht m.
ol
and the
argument was
.m
measure
ol facilitating
the complexities
ol
to
Morris's
ahstrat
greater
of /><
undefiant \eparatenesi
incapable
then
humor
tht
men who
represented In the
physical existence,"
andfor
bam ImL to do
[paces oj
//><
still
It
rtist
In
oriented
dialogue between
in a critical
own
1960s Minimalist
ot
gallery
thinking
aJ
c>l
Literary
But
ontradicted by the
<
tht telf
An
isolation.
of
confidt >n
us
Times
itself.
through
instant
rst
an extension of
now bang built
./i
see>.
world in
./
"something intimate
lines
at
.i
Supplement uj\
ii
to
<
insidt
Morns went on
rt
its
t/.u
discontinuous with
./
endlessly
ideas
these//
urban spaces
<>t
xpact
artist's
yean an
II
his
section of
'nna>:
The gi
war
Beckett, The
argument
significant
first
Samuel
it is
The
Maurice Berger
inst sui h
co Morris
A decade
an
arti<
ulation
ol
the
sell
of the
self:
artist
to
body
in
and productive
Schneemann
and
its
relation to play
tasks;
of Morris as manual
as Manet's
artist's
labor
and
Waterman Switch (1965, no. 69), a nude encounter
between Morris and Yvonne Rainer and a transvestite
examined
own
his
role as actor:
own
him
examine,
to
history
test,
He holds
wears a
His opponent
in
advance
dance
at
in
make
to
total
suit of
their
darkness.
armor made
of junk.
large
gong sounds
their
continually.
They stand
opposite sides of the stage. They taunt each other with voodoo
dolls.
They
hesitate.
They charge
at
releases a pair of white doves. They fight as the doves flap overhead.
weapons. They
of
fight hand-to-hand.
They
fall
In
Man
Ray,
print. 8'
New
in
costume
for
performance
performance
at
in
S.
collaboration
York.
2x6";
The Samuel
to
inches (21.6 x
White
III
Gelatin-silver
Museum
of Art,
10
roll
more minutes.
made
gesture that
list
He wears
accompanied by
of instrucbons
monotonous sound
for sorting
He stands center
returns.
his
blue
He throws
He stands
Blackout.
joint.
lights
memory:
a centerless space
in
maintaining
his place
emerging into
of
their vertiginous,
He rearranges
by a swivel
and
impossible
it
The
it
track, a rambling
stage.
tor the
upper
used by farmhands
He
stage. Blackout.
movements
shirt
raises
section (a counting
first
will
He
in
clear
meaning bound by
historical
21.
Tu
Marcel Duchamp,
122'
m', 1918.
Oil
Gift of
the
He steps up
white
shirt,
He begins
podium situated
to a spotlighted
He drops
tie.
moves
is
He
and out
in
a gray
suit,
about the
echoed by a tape
haltingly,
moments
the middle of a
dressed
hat
of synchronization
in
me
acquaintance greets
"When an
is
his hat,
forms part
world of vision.
When
of clashing
lell
I'u
identity,
within
pi
.i
fragmt
rformani
nt<
Morris's
ni
oi
ol
n,
ii
audiena
i
21)
,i
u|
li
'i
iv<
oupli
ll'ilil.lll
Mm'
'In
nl
an
could be
ai
ci
maintained
tion on
si
i.i
ili<
ni
he
passivi
being
1
is
oherent
sc
tion ol a
fragmented
hi Ins
prim
Duchamp
For
named
I,
reared
a ret
sell to
som<
iple influence
Duchamp,
R Mutt, marchand du
human
identic]
rirj
found du
Ins
ni
ii
>ui
ol his
sel
Marsllavy,
"The
idea
an essential concept
invention
Duchamp said
Ifhood
identitj
.
(the artist
believe in,"
elliptii al
loud, repetitive
threat! ning
spe< tatoi
H lationship to
ol
these
field; in
ol
Kicisc Selavy,
in
violent clashing
In
with
and even
Although the
ntri<
'I
and 21.3
prom
w.is
was defined
irizona,
s,
W&r,
dissonant
"In
have already
well:
ol
In this sea ol
ions
ih. ii
In
at
personhood
either an autobiographic
crescendo
dislot ations
my
was confused
see
overstepped the
what
argument
Panofsky's
ol
a pouring sound
later,
Studies
as
in
fills
in
is
He
He
his glasses.
and which
don't
ambivalence toward
m.u nines
foi
<lc
essentializing
reproduced
in
lost.
Photo by Alfred
Marcel Duchamp,
Stieglltz,
white
p. 4.
film.
from 35
Still
mm
black-and-
Private collection.
is
or
less,
and conditional
"My
influence.
Duchamp was
idea that
all
fascination with
Duchamp's
and respect
Duchamp was
and contingent
spiraling
itself."
sex.
One such
known
The term
Jakobson
is
"shifter"
was
initially
used by
is 'filled
identity by contextualizing
pronoun
dependent on
the shifter
own
Duchamp
that
"I"
sustain
it
early 1970s.
Roman
it
as the
Duchamp's dislocation
sign [that]
for
work."
that motivate
to
oscillation of subjectivity,
polarities as well.
for
also a Fresh
its
referent;
"this
meaning can
and "you"
The
meaning wholly
it is
only
when we
qualify
The
personal pronouns
Western thought;
argued,
it
was the
for
linguistic
meaning
it is
as the
precisely a
personal pronouns
a metaphor, of
sexuality
Duchamp's work
divided psychological
self:
sense of
often breaks
continually mirrors a
The
individuated
silt is
also
lor
ol
MAUHK'K HKHCJKH
personal pronouns
mum mum
is
be learned. In cases
one
is
of adult-onset
first
"I"
Duchamp's
in
fails
'in
and inversions
alliterations
almost impossible
is
is
it
puns of
in the revolving
Anemic Cinema that continually confuse the subjectobject relationship; the tense interchange between the
"I"
or
clinical observations
on autism
in children
with an oscillating
(as
being
fen), fantasies of
are evident
constructions
Duchamp- inspired
ot
ot
in
viewing
21.
of
where the
J,
self,
defined by
common
who must
subject
world;
renegotiate
hypnotic effect
tin-
ot
confusing, labyrinthine
in
Dm ha m
Cunt [1963, no
Litanu
1961
>.
vers
ot
in
lei
.i.l.i
mi
ii
Mi trace
a half
oi
hours, the
text ol "litanies ot
oi his
1963
ol
the artist,
[964
oi
dislocated and
le<
ln(
has
/9. 7 x
ot the
(29.2x91.4
Inchi
Mori
in .hi K
two ami
Pharmacy
2K
rfornu r
site
hi< h, tor
ephalogram
36
Pt
no, 52],
Self Portrait
>M.
54]);
in
artist
(In
|1
number
>-
an
whuh
irolee
Dam
>
Schneemann
Nrw York
IIiimIit,
'
oi the artist.
in
performance
at
Church,
center; the
rulers, rods,
New
at
Judson Memorial
York.
commensurate with
Is
in
was never
in
Ann
Halprin's San
arms are
dressed
is
to the audience.
features.
Downstage
is
left,
in
first
board
off
stage.
drilling
to a large structure
his facial
He
with jackhammers.
composed
He removes the
of whiteit.
He takes
rest of the
late-1950s
where
Monte Young
was drawn
in
New
York." Deconstructing
who, in addition
Morns, included Trisha Brown, Lucinda Childs,
to
is
He
He moves one
carries
it
on
of the
his back.
plywood boards
He kneels next
to
it.
He puts
the board
downstage
left.
He
the
to the passive,
and
in
advoi ated
in their
oi
dances.
The operational
members of
oi
a degree,
Morris's dances
and
wen
<
Minimalist sculpture
shared us
<
simultaneously explored
in
on( erns.
hart bj Rainer,
MAIHIlii
who
S3
lived
mid-1960s,
in the
new
lists
sculpture
energy equality
factory fabrication
1.
\\9
DANCES
OBJECTS
and
"found" movement
2.
equality of parts
3.
uninterrupted surface
repetition
4.
nonrejerential forms
neutral performance
5. literalness
6. simplicity
7.
human
human
scale
scale
Modern dance,
body
end,
was "geared
it
to
it
and
Eliminating
literal.
Rainer's choreography
time
to the actual
Muscle: Trio
narrative references
of
Mind Is a
itself
and the
motions."''' In the
stresses sustained
by
dance's structure.
floor, raising
as one
or
movements
lit
getting up from
it
when one
stairs
mimetic ...
are not
etc.
much
The
manner
not in a hurry.
is
for in their
The pedestrian
actions.""'
Is
be
character of The
dam
of the
New
in
performance
Judson Memorial
at
York.
artist
er"
Church,
Mind
"principal
21,
},
Duchamp,
as he did to
whom
In contrast to
nan issism
attai
bed
t<>
Kami
balleti<
ol
Ai lion, or
at
oi
tion
[more) interesting
is
ol
an best be
lot
USed on
a neutral
lot
urn.
movements,
intrit
.md
historical references,
this
kind
ol
ate
sound
tr.u ks,
and elaborate
anonymous posing
favored
l>\
xampli
was
lass laboi
built
and
n adii
tin
thi
ii'
Morns, wearing
faithful reading ol
in
many Judson
I"
19 i0)
II'
It
fai
.t
(1st
(a
Herbert Marcuse
ilitate this
at
mask
much
oi
her
ol S//t
ot his
in
onstrui tion
As
it
lor
when a student
in
in
l>\
ontamt
Art ana's
land the
at
the
understanding, the
tl
numerous autohiogr.tphu
"method
for sorting
al
ows"
ows used
who was
in
Marxian
Reed College
references
it
own
Morris's tlaiu es
mid
84
ol tht
oi
avoided
work
barat teristit oi
horeography
texts,
narrative
(is)
artist as a
"Rrose signals
master.
of
notorious
harat ter
tletat
tor
some
professional
in specific,
an
history at
1961
a sei
horse wranglet
tin
1950s;
21
Hunter (
nun
ni
ollege in
roadway
in
San Prani
isi
ol
o he had surveyed
Of this
autobiographical content,
Morris observes:
Although
that
is
never centered,
kind ofpresence
bothered
narcissistic
drew on
I even
to
effortless
work
Modern dance
lot.
own past
wasn't interested in
body doing
me a
notion of a self
my performances.
in
and masking
to establish
the events of my
many
of the
a
name it, to acknowledge that this
a person and the audience must deal with
movements.
persona
to
character
is
frame
it,
to
25
that person.
It is
was
work
proper
name
"Body Bob"
to refer to his
choreographic persona. 26
Indeed, Morris played a tangential role in only one
dance piece
which the
artist
1964 and
in 1965.
at the
at the
Moderna Museet
in
Stockholm
in
New
in
\brk
Waterman
room, with
performers
aisles
Rainer
in
performance
Today, Buffalo.
random
executed
as they
children
to
for simple,
simultaneously
invisible to
these, Check
243.8
61 cm).
some of the
As such,
it
suggested
The stage
is
tape recording of
stage. Blackout.
Boccanegra
rolling
lush aria
blares.
He
is
roll
along the
clutched
in
a tight, face-to-face
embrace
with her. They are both nude. Their bodies glisten with a coating of
Another
woman
appears. She
dressed as a man
mineral
oil.
and
tie.
She holds
line
a ball of twine.
She
is
is
in
suit
parallel tracks.
stretched over her shoulder to a point off stage. The aria ends.
Blackout. The
woman dressed
as a
man
capped by a red
flag.
MAURICE BEROER SB
end
of the pole
in
in
circles. His
recorded
voice talks about rearranging the stage. Blackout. Three real stones
man
rear,
a stone
lifting
permeates the
of his voice
He
hall.
A sound
track
is
in
He pours
his hand.
down
the mercury
He holds a
aria.
her back.
an
who was
artist
so fearful
of
succumb
to his
his dances
own
in
he
lest
known
the same
at
two
and immediately
-
The
'
the
tact of
the spectator,
a
the piece as
it
work
understand
in timt to fully
its
nuances.
In
Morns juxtaposed
1965, no.
i),
foot extensions,
is
It
there
is
'simulating'
is
Duchamp:
deliberately recalled
man
Rrose Selavy
guiding
woman
dressed as
bruit
the
No
return
Waterman Su
final
scene
duplication of the
first,
coming,
lor in
jai
Dm hamp
as
faunf (19
>'
literally
did
when he
"painting'' l't\
ol Ins
pain, in whii h
is ol a
As such,
possible
is
and
to psy< hi'
when
the fantasy
least
ai
ili
\ is"
'ill
oui ol
d bod) languagi
c<
suggest iiiuments
emergi
m Mm
its autistii
is s
<"/./
kind
ol
groundedness.
i
an
mi
rg< ni
self
temporal
icpi
ii
n<
and struggli
plinths,
i
.
in tins
ulptun
and
th(
Beam
performative kind
"t
the
mid
.1
disruption
2(1
ll'lllllll
ol
its
thn
dim<
ol
is
must be
viewer's preconceptions
known mentally
rendered
is
With
inoperative, the
brute perception
hi'
or she
is
must
iewer
start
from the
in
sin h
ot
what
ol
ts
aesthetic,
level ol
re. ilit\
seeing
these works
Ol
Fbi
to
"are full)
whom we make
with
iln
im
.is
it
Ultimately, the
world
"ci
,i
dependenci
lam kuu
ol
ill. ii
01
In
II
than as an
in
Mm
selfhood
I
ii
cognate
for this
naked
of
understood, thai
i.i
p. ii Hi
\\(
form through
ir.uni.il gi m.iIis
what
Minimalist
somewhat
as
n late to Ins
ol
The
their difference.
sc
..
unity
ol
person's emotional
And
as the same.
understanding
a (pi
them
understood,
is
ot
Moreover, the
"
in positions relative to
the variability
ol
its side,
postvirginal point of no
the
were arranged
While the
in
sides of
to negotiate the
As such,
severe claustrophobia.
two
object."
The
was anathema
B..
arrangement
durability of the
is
example, in
oi
is
is s
,i
ol
the
sell
onl) inexperience."
sell
constituted
in
experience
dances
where
vii
wi
il
on paper, 33'/a x 51
inches (84.5
/s
of the artist.
One must
operations.
still
atavistic stage in
dependent on an
is
and
its
psychological development, a
is
moment
Indeed, no psychological
logic.
human
Minimalism
into being.
There
in
its
But
if that
u,
work was an
which
visible,
together.
an art ofparts
first
is
when
identifies
be an integral person.
If the
it
infant
looks like to
mirror stage
comes
often
is
in
is
seen as the
self,
as
Not
in the
on Lacan's theory,
self-identity
development (between
a period of
The
more than
that instance in
appears to
who
a mirrored
tor the
image
at
self, like
.i
does so
it
sense of
distant
e.
.i
being
the other
MAHKIl
>
17
(i.e.,
as-subject
But
alienation
it
most particularly
is
when
the
or the "Symbolic," as
Lacan
it,
two endpoints
In assessing
initial
assumption
or the
and the
itself,
himself
to her- or
the
is
subject's internalization
Lacan allows
mirror stage
tor the
image that
in a
the ability
is
it
to utter this "I" that permits the child to see the self-
word
1962 (open
next speaker,
19 x 12
Punches
(48.3
32.4
moment
view). Painted
[that]
if
this transpersonal
myself in
moi
is
one
that
can be
be taken over by
lets oneself
it
like
an object.""'
born
ironically
And
him- or
ol
language,
subjects of his dances to
language (his
more
It
subsumed by
system (becoming
wntmg,
automatic
\(
It
oi resistance
chough neither
losi
roi ./</
>">'~>>.
ol
desublimation, and R
1959),
ol
mental
underscored the
disempowered
id< :a
sell
// liln
I'nlt
ii
i.
idea
>t
chat
.i
Ii'.
It
(H
he psyt
would
illness,
onlj
disunified
incapable
of ./>/ illusory
man and
sin rtby
a mil.
giving
modern Western
ID
Marxian
ritique
politic s
ol
hi. urn
haw
selt
was also
,i
him
Of this weakness,
writes
s.iss
tin
was an
a< t,
<
treatment
"I."
of
nor an absolute
a definitive
ivilixation
of
for
a larger
in
tor
ideological gesture
/
on the
built
full) CO the
linguistic realm), he
entirely to overtake In in
to be
ot
form only
herself in the
losing
the
so, |ust as
subjet
"I
to the
experienced only
one":
moving on
an effect or language
is
also a shifter,
is
it
"I"
before
/</'
telfJotH rcomi
it
i/m
most
to
of tbt
//'<
division
h\ effacing both
aspirations
il><
/ tbt
be
an
illusion
truth
is
the structures
achieved
is
is
is
since it
out
allow
to
appear; further
make
ourselves at
and
to achieve a
While such a
self-
lives
home
" 43
one must
show others
is,
of
more perilous by
society's relentless
ill.
Laing, for
boundaries between
admonishments
as repressive
and
coercive. In the
empower
by
foreclosing
By advancing
loss
was problematic
for
become absorbed
ways of trying to be
real,
for
in contriving
of keeping himself or
put
his self."
it,
power
if,
Even the
and
some aesthetic,
meaning. The lucid
in his essay
literary
its
"human
actions,
Foucault calls
self.
it
individual subject.
14
elliptical
view of power
itself is
a wholly unpuritanical
in believing that
for
power of authorship:
obfuscating the
and 1960s,
in
which the
the
backdrop
list
"human person"
from the
for
text.
easily,
women and
self.
acts as an
empowered
ringleader (and, as in
all
of his
moments of
late
1950s
artist,
by him.
Morris's
fundamental refusal
throughout his
manifests
oeuvre
from
his
itself
own
By the mid-
was able
to enter into
and 1980s,
father
is
to a recent
his
life,
a discourse that
Ik-
of critical authoritj
MAURICE BEROER 89
It is
box with
shape
naked and grinning cannot be
The work
of the letter
the
The
self
read as a
its
in this essay
Ibid
drained vision
recalls Beckett's
often
is
more than
little
The work
self.
of the
a vacant
world, where
Ibid .p
i.
Ibid..
>
Morns
Morris himself
it is
Molloj or Malone
like Beckett's
who
such
In
6.
empowerment: "I
From the dance
"I"
would continually
museum
work
who
of American
lands* ape ol
in his
who
explorer
perception
.is
om
Lung. Tit
/'
Whitney Museum
monumental
Mm
don:
,l
fracturing ot identic]
MIT Press,
1989), pp
direct parallel
km.
,i
.>t
Below
Learning
no\.
<
between subversion
B4QI
Welch,
Known
how
revealing
wot Id
also undei
Dm lump
.in
its
alias
chat draws a
them
in order to control
Duchamp's 1963
nIioin
.shop in \.
ol
ilitator,
By constructing an imagi
..i
.iihI
unit
$2,000
\\
( >|><
ol p.. veer,
for
One
\ \.rk
n ,uh nuJc U
parod)
iIiin
name RROSI mi
che
tbt
Duihamp (New
name and
Drama
CNewYork Viking
Dm lump
more on
.h ts .in
boredom
Godot
wail tor
rete,
who
hunp,
who
it
pi
1,
no contradictors 9
is
see
197
on
Beckett, lor
180-N^
ua with
7. Pierre Cal
Press.
disi
of
Morns
to live." See
which there
the rules
"With Sjnim!
condemned
are
pp
I,
significant mriuenic
Til On...
in
existence
ot
ns
self in its
l|
no. 2 (October
1,
its
As R D. Lung wrote
5.
word, a coffin
that enshrouds
Man
Bruce Nauman. Joel Shapiro, and Phil Simkin See Robert Morris.
2.
and
acknowledge
also like to
to illustrate Morris
it
the
would
the
art-historical prohibitions
Though
1.
number of issues
for his
Duchamp and
Michclson.
spelled out
is
like to
clarify a
my
Morris
conventional self-portrait.
would
a dtxjr in
vn Museum,
<
his eyes,
and
later
s< r.iv.
led
.i
t<
who posed
m
1
i.
astelli exhibition;
nli.
in
rei
.i
<
nt
Whether naked
work
lothes in
the son
bottom
naked
halt
who
imp's joke
WANTED
most wanted men
known
in
Waterman
in
S//i
own
ret alls
brain surgeon
donning
Switch, or
Last
-in
similar antisot
lorse,
Morris,
activities in
lightl)
nifii
ant
at
sthi
and so
tii
ial
sell.
thi
ti
mporal and
strovi
nil
work
represent
it
"i
<
ai
sell in
dam
e, th<
on< eptual
was permitted
sell
l><
lui
<
dam
(achieved w hat
itsell
to
fragmentation
abstrai
work
add n
works
in
ontrasi to
ki
pn.ni
19
th<
the
101 in.
.11
is
KOI
.in
as
dam
.1
iii
i0111i1l.11n.il
..1
on
ol
in iIiin sense,
in
i.ini
./
..
y,
and mid
is
lologyofthi
I'h
concomitant
In
See
Mason
Marcel Duchamp's
s,ii
dissertation
it)
(<
niveriity ol
York, forth
Aii'iiii.
Michclson
li
Red
is
repi
on an Emblematii
Mich
.1
in
Critically
Arboi
hamp
unpublished
In
is
rowardsaPhei
Klein,
in ctx
\\ orl
ai
As Mason
specificall) thi
nnin
lump,
in.
i.
UM1
Research Press
143-48
1984), p|
.
sell
and weight
ol
ot
New
in Ins
n.
1.
In
oeuvn
157, scar
in <h<
Klein writes
tf.tim
vi 1I1.
naming thing*
complexities
its
defrauding garb
Moms
earl)
of Ni
om
,etc.,
eti
<>l
onstrui tion
the
ol
appropriating
to hav Nought
thi
and .miNi
role ot tin
rolt
ial
well
Nt
nsed
Life
himself
..
man
lor
i.8,W1
III
collectors
'
foi
series ot essays,
,i
in a
oil,
lions at the
ol Ins ai
Old
nil
li
.ills
ihisschiio
..nun.
III. II..
I'.
*\
Mirror. 1969.
Still
from 16
mm
black-and-white film.
MAUHII-I
on
Duchamp
as
MIT
,"
The
Press, 1957); as
quoted
Rotary Spheres, in
and
Anemic Cinema
being considered as
therapeutic device to be
and speculative
so
Adam and Fu
who
lived
Autism and
New
Two
Another work
pharmacy
bottles,
one
ptoxy
sec
see
as
rger,
26-28,49,81-105
Dana
ludson
Yvonne
18. See
Tendem
A Quasi Survey
Rainer,
Anth
Battcock
Some
'Minimalist
Minimal
in
Art:
Critical
this
ml >l
d himsell
in
'Expli
..i
irthworki
snd
traditional
Hoi
si it
silt
'atorman
'
Sti
..
and corporeally
Maybe
hob up hen
numbet che'Heroii
ulptun
s,
Well
bell, Ignatz?
ball Itoni H
tr.u
ks
ol eat
\ i-.ii.il
rhis situational
strength
poU bedron,
li
the
ol chi
will
us irregularity
For an important
and
ube, only
name* to a
(Whili a
it
was built on an
I'Ai
as thi
in.
den
wen soon
igt rn
..im
i
is
ol
latei realizing
\lodtrn
ol
the
re
'I
<Ui
in
kind
iisiiii
re
on
thi
in.. o
\\ uii
ol hai
t-m
.1
yi
Nazi
was
often
PAG,
I,
has,
intellei cual
.ii'.
dii
1961 (no
10)
work
from
thi
ias.
its
application here
maud
with
\i...
thi
essay co a
small catalogui on
Lacan ha
mirroi lin
psyi hoai
..
mirror stagi
hum
hi
Alignt
il"
oi
luggi so
it ii.l.
identity
itoi ol
,ii
blue
..ill
i.
Alternari
mom
.i.i.
v. lull
explicit equation
berwei n laboi
i
18
'I
I'Ai
tht
..i
Ibid
mill
is
number of artists n
iki
proji
Speeches
inviti
'
woi!
nts
an
mploymi
Art
(6
Moms.
Morris
19
Demonstrations''
possil
ici [ji
ee
1'
l.i
Politii
Novembei
is >
...
\.irrjint in
>
,otk shosken.
as a
imber ofart
Imsi
few
in sexual desire,
'.
their
Forms
/>.
pi
22 Morn
chi
behind, to serve
leti
It,
c<
em
toni
iid
21
iVu
270.
|.
port rait ot
19 Ibid
im
gestali
the Quantitatively
ies in
ol
nudity
status
[983)
sclt-
ol
eja< illation
id
1993
rei
assed
andalous
S s,
ol
"excreted," literally
is
existem
Assyrian Art
grounded
Dui lump
essentia IK s
J),
with Unties
particularly celling in us
32. Morris's
infinite,
irs
pp. 2
up an
human
lor
devices tor rotation goes beyond the formal: by juxtaposing the images
sets
its
no
Kis.
sublet
l
i
Morris, nanus
31. For
bourgeois
ol
newspapers attacked
local
painting: Portrait
as
mirrors.
fig leal
it
JO.
Morns.
Paint. Robert
run in Buffalo,
p. 145).
Infantile
7,
in Francis Picabia's
some
the failure
Morris asked
for
Gray
to the
on an Emblematic Work,"
Information,
at is
performance
strategies
of art
comment about
his
the subversion of
measure, the constant movement between alternatives [that] supported his esprit
uses
&
used in the restoration of Vision), the elaborate linguistic play, the recasting
a few
179; Bcfgcf.
p.
29 Between
motion, the insistence upon the usefulness of objects (exemplified in his joy at
discovery, the
made
Morris
MS
"Notes on Dance,
see Morris.
28.
dc contradiction,
MIT Press,
more on Check,
27. For
77* Vritings
1992.
persistent interest in
the possibility of
22,
That
Is
197.
Michelson writes:
Duchamp's
My
in
of Robert Morris
in ibid., p. 197.
1," p.
Denson (Or
Mouse
14.
in conversation
25. Ibid.
196-206.
Roman Jakobson,
12.
Morns,
Originality of the
Mass
1992.
1 1
for
p. 30.
in hii
opat
|ui
way
Ins
point)
.1
to tin
infani
ii.
irro
AnOri
'
Ufinilnnly
ridge, Mass.:
Louis
H
'nfini
MIT Pn
11
i
Ml ROBI
ii
MOI
iii<
Sass,
Sell
Jytit
to
Its Vicissitudes
mi Gardi
Sociat
An
'-'
'Archaeological
no
(wintei 198
i
Study of thi
|ui
i
i
in,
iiur.
No
i,
and
Its Vicissitudes,"
"The
in
5556
more on Morris's
42. For
involvement
in
War
anti-Vietnam
New York
protests in
in the early
artist's social
Freedom,"
Rasmussen,
p.
MIT
trans. J.
trans.
a Practice of
in
(New
Stephen Heath
me
in Image/Music/Text
Wang,
Press, 1988),
to this text.
its
The
art
and
its
from
his
Duchamp and
encounters with
Barnett
dominate the
own
arrist's
Newman. "Today,
economic
avanciousness
may be
art
works.
And
ranging
just as in the
(p. 143).
psychological
art in
intellectual
more than
serve as
own
scenes of his
and
commercial ones
life,
more recent
art to
48. In the radical psychiatry of Gilles Deleuze and Felix Guattari, the
schizophrenic's refusal to speak in the
first
person
romanticized as a
is
who
word
uttering the
this
/,
is
his ability to
incapable of
pronounce
fucking
me
word again;
over again.
it's
And
it
make one
won't
statement
is
if
won't say
damned
just too
I
happen
anymore,
I'll
stupid. Everytime
to
remember
bit of difference
"
hear
to. If it
it, I'll
use the
amuses them.
their
As
in
most of
Beckett's writings, the voice that speaks often utters this illusive "I"
in
an
momentarily,
a center for
enacting various
and Schizophrenia,
trans.
MAUKICK
HKllliVH 3 3
David Ant in
47
76
'
At the end
inches (121.6
Deny
thi
rid Th(
title Inability
paintin
in
Ins
whole
em
aluminum
hall ol
artists
hibition with
Smiih
thai laisc
hough)
"i
Mbn is
nil-, oi
,i
notion
In
i.
ol
major
savagi
ii*
as an ai
..i
in
'
to
with respei
a
question
tin
Mbn
nu
York
tion,
ol
.
isi
ill
authi
.,o .1
In
.H
originality,
.iii
harged thai
<
foi
from
whethi
hi
i'i.ip |y
The
34
work of other an
thi
had
and
New
vi
on\
ai
and
|u< si
to laugh,
telling
mc thai
from
haim Soutini
<
Is
Ik
because
artists
worth
soon
as
.in
gol
.in
ichibition ai
and
fantasy,
s.
In
.is
ii.ii
in
.is
.i
<
Moi
h
I.
iw
in ni
mow
ii ii
ii
.ii
my
on hi hardly ihmk
someone
Smith review,
thi
ai
the beginning
thi
astelli's,
had
Bui reading
idea,
an dealer
At the timi
w.is like
It
Kelly
remembei dn
si ill
occasion ba< k
hadn'i
is
bitterly thai
almost
would
"II
seemed
imii
i.i
win
rip
iii
funny Sol
like a
up an
il
lb
elaborati
took to be a temporary
Id p. ii .nu
ii.
ists
was
Im.it ion
thai Morris
Beuys
<
tomaniai and,
ion,
nu
told
.ilw.i\s
iis.ii
room
Living
and
ntii ity
I
kle|
i<
by Roberta
mj
oi
ol
museum
tful reviews,
ai tai
sitting in
though
couple
an world gossip
On January
works on display
theSunda) Seu
20,
on
austii
it
tli-
omments
who
Moreover, whai
art-world scold
official
paid mui h
and
mints as the
had heard
areer, bui
in criticism,
i
xhibition was
work
to Morris's
|j
of the artist.
L990
oi
Washington, D.C
hi-,
All
IK distinguished
\tui
a dou
hatu
a in
.i
in tin i\
(iii/zi
book, notan
///i
with
.,'
./
'gipi // / i"/^
lau u
r,
witnesses places
is
in
the box
is in.
wind up
telling
when he puts on
show at
the
Ad Reinhardt owns
squares.
relation of
and
come
Conceptual piece.
Russell terrier.
trustee,
knew
fundamentally flawed.
set
up
knew
that
if
like
this elaborate
off his
mouth
supported or refuted.
world
of the art
like a
And
It
because
anything about
I
beliefs
was
another
just
whole cluster
This
So Smith
not surprising.
is
what kind of
can't tell
is.
The notion
of persistence
if
an
artist
it is
that
all
of an
artist's
works
all
And
it.)
art
laid out in
can't steal
earthworks,
art,
of
Guggenheim.
is
a lot of dogs.
because there
First there
art.
Neo-Dada, Minimalism,
it
was
owned
edge
collides with,
in the
until
it
realized there
it
Morris's "inauthenticity."
dog owner he
when
kind,
its
the sculptor's
clearly a
my
So
it.
is
its
a little
in this
main symptom of
mouth
his
it is
owner
is
to Morris
A Doberman
having a dog.
finds the
to be
artist
Now
But
this
your
And
witnesses,
owns
black. Christo
shut,
idea. Then,
owns
you appear at
Castelli's.
practice, this
in
it
artistic
biography of the
culture.
(If
work no
artist will
if
how do
is
we
This
will recognize
it.
But
little
Who
poured
first.''
There
is
in
a loosely
it.
if
first
in.
in a global art
in a
small one
it's
Every
who
critic
it
is
not so easy.
show
went beyond
figures.
ailed
upon
ii
and
tilt
the
of
memories
New
after
For some,
it,
world this
October 1970,
to explain this
is
If
In
ourse
in
le
artooning
<.\.i\
in a
ot the
new
orn spondi
Hed
always
k\
oi
the
as
it
invoked to justify
:<
compan) began
to reconcile as the
to
in the art
ol a
Litanies.
Museum
7-
acceptable tor
inches
Modern
of
New
Art,
York,
Johnson.
Gift of Philip
13x7
plywood
(see pp.
a square,
sectioned
(1962, no.
[is
hes
a lyrii
biographii
cit
al,
culmination
.il
recuperative criticism
L978
in a
Art in
arti< le in
new Gustons
she triumphant!)
a certain voi
On
into
i.
thl
authl
ntii
harai
ti
to
adapt to
for iiarrar
istenci
Pei
mly
.is
,i
appan
Ik
icy
their
"| >
hi
thi n bei
ii
ti
thi
world
art
artist's
ol
in
whii h
d tends to requin
rsonalit
artists' asso
omi
his
is
.in
iati
hai artists
dedui ed from
and support!
a kind ol warrant)
works. 1
thrift
in chi
an world system
con,
.i.iiii
automobil
and ingenuii
foi
w hat
lust ry, in
hii
all
rs
pro
thi
idi
futun
molds
some
oi sin h objects,
machine parts
or
oi
thi
Yanl
pi rsonalit]
ol
as
come
to
anyone w ho had
world
of
New York
in
Exhibition at the
ultural
as an assurani
valuati
low
suggestions
s(
<
1961
(
oi
work
So
He had only
New York art
quite short.
for the
ores
[aiming
pro<
partii ulai
Gu
gl
or
critics
and
and
onsisti ni
pop
also
it
The
works of Beuj
iuti
an publii
h fun tions
ni
it,
uision had
Othei
mark,
cradi
rty n^his,
authentii
.u\<\
i\<
tS,
ontinuous
th<
b>(>
to gel
lif<
ndoni d
work.
them
small objet
in his
arrangements under
oi
orner Piect
thematic,
ol
"<
abular)
edge; Cloud
somewhat
it
12),
Beam,
.'
embedded with
oi
hnii al,
and motions
tei
oi large,
among them.
beam with one rounded
17071)
aren't the
betrayal they
an installation
Tins kind
rea<
One was
common
nches (33
it
right,
and
for
first
it
was probably
1963-
till
Still,
number
Box with
the
Morris
like Litanies
of other paradoxical
It was a place
what most critics were then calling neo-Dada,
which meant that they read his work as taking account
of Marcel Duchamp's readymades and Jasper Johns's
gray paintings from a position at some distance from,
but somewhere alongside, Fluxus's absurd objects.
The large, geometric sculpture in the "white
show,"* on the other hand, seemed to declare itself as
among
sculptors
like Carl
own
two-part "Notes on
all or
major spokesman
as a
for the
more
each 6
that he
was beginning
Morris's "Notes
abandon
to
27
24 inches (15.2
New
Castelli Gallery,
68.6
York.
it.
for him
seemed
viable
mode. However
it
lead reliefs
and
legitimate.
sculpture
space
"
This
new object
to
precise, intellectual,
make
his
And
it
that
He had come
art
as a Minimalist.
intelligible. It
own
offered the
all of
into
New
York
the
no one was
really in a position to
many
or fabrication of
all
and humorless
1960s career
his
sculpture as
boxes,
iron, ten
much
different
It
also proceeds to
working
logics,
though
may be
it
truer to say
rejecting both
monumentality and
less
human
scale of the
articles
wedged
(first
aired in 1963)
significant
whose
color
it
nearl)
in the art
floor.
<
divided
at the
and emits
in halt
two
cuts.
light
pm es
mark out
hand,
it
is
is
.ire
marked
by this sleight
of
66, no
1965
clearly
it
it
is
never becomes
HAVID ANTIN 37
By 196 7 Morris
,
works
(tor
93])and,
no.
by 1968, their
weak "formal"
scatter pieces,
soft,
is*.ous
arguments
a set of
and
he
or
floor.
lays out
in
The
is
exhibition
Artforum
Corner Piece, 1964. Painted plywood, 78
108 inches
New
in
York.
accompanied by another
"Notes on Sculpture, Part IV: Beyond
article,
Objects
Question:
really.
The hard-edged
in
change?
this a career
Is
Answer: Not
work
object
is
given
its
rationale
psychology
unoccupied individual
ot
an otherwise
in
to
of
varied materials
its
those
piles of
ot
and hard,
soft
of fiber,
1965
of a
original.
(53.3
53.3
53.3 cm).
elements
ot
i,
Modernist impulses
demythologized, made
ol
literal,
\.u
kson Pollot
k.
to
an ati.u k on
form
And
appearance.
Notes on
and
the
work
ot
promise an
Si
while the
"Ann Form"
tat
lonahst
that results
it
notion that
m a finished
m its hands
at a
same
the
tat ionalisi
cm
Morris's
>
work
is
as
mutable
Stufl
cheargumem
is
art
product" and
essa\
(that
voi< e
Conceptual works
of
ol
191
intensified
ties (61
(35.6
<
iti
cm)
high,
urn
hlng grai
of
An, General
is |it
is|
hut
in
National
>
liol"
them
\\
averj simple
>
places an
hatevei else
at
ii
Mm
is
level
was
ol
an
making
ot this
38
that introduces
emphasis on process
16 4 (.m)
ml
"
light,
point
Untitled, 1968.
overall
Felt,
out here
is
of the artist.
making
behavior of production
become
so
expanded and
visible that
it
ROBERT MORRIS
has extended
Nixon
finally
beginning
and announces
and has
offering to undertake
political artists
EVENTS FOR
XPLOSIONS
CHEMICAL SWAMPS
M(iM
Till
to function
QUARTER HORSE-
MENTS
SPEECHES
iLTERN
iSONS
DESIGN
\ll
AND
POLITICAL SYSTEMS
nil if, is
ENCOURACI
OTHER VAGUELY
its
in
that
elliptical style
presents
\ll
DISCIPLINED
PRl STIGIOI
\l ol
111
"i.ii
{GRIi
I
THEATRli U PROJBt
AND STATU
FILMS
is
TS
OR Ml
SEl
V)
VTE,
i" HI
SEES U
NAimwi
llll
PARKS VND
ID A N T N 3 9
I
ING GARDENS
PTURAL
It
the
list
"the above
PROJi
the artist
At
modern expansion of
first
or too
is
Also
kmd
mortars,
shapes.
lay,
Also
humor, ridicule or
may
be necessary to pass
and useful
very beautiful
oj
Won
uld
all
works
of
And
less,
always
us anticipated course
MENTS"
"<
W't -mer
mk
hi
wlm
politic Kins
a narrative
AI.
mi
risis,
<
Kan up through
IRMS "i
ii
win
"EARTHWORKS" might be
the context
Leonardo
oi
but "DEMONSTRATIONS"
VAGI n
in'isaniu
111
VAGI
ion
IB
appropriati
ill
'
ins
si
nni\ ing in
i
MASSI
ill
ei
Ij
MS" (an
and
or political?)
scientifii
<
ither
cai
ulai
ill-
in nil
os
thi
This leads
laims to en
botl
tn
.i
ham
UNS
IN
ol
IQl ID
IA1
in|
diverting
alitn liniai
Id 'lO
thi
til
HI
and With
hi.
PARKS
Y, Mi.
om
again
to proceci
Italy
Isonzo), befori
oflft
Mill
ol n,.
"
(evol
DIVI RSII IN
eonardo
from
thi
to the artist
'
lix
in trust to
dollars an hour
help finance
was
a m. ry
in
mam
II
(this cimi
[url
others the
their
ot his or
diffit ulty
dreams The
ol
some
artists
tor
alt
on future
artist tax
sales ol
was not a
projects
mate
"aid
containing an element
Irony
is a
w mk.
diffii
till
also
soi
'
iii
.i
no longi
[i
like
thing
(
difft
i.i s
oi
Knoli
oi tin
chemical
figun to
e
oni
rol, pi
rhaps
located in an artist's
is
us
bl
'
deep
ansi
ol
doubt
n in in
it
ovi
any
m plow
n rard de Nerval
is
it
ol
it.
It
political systems" as
Onct us present
impossibli
novelty
Mini
pan
tor yet
oi
verify
ulated as
alt
tins
\\i>
"1 PI<
Twenty
ts
swamps" and
publii
ati
both
oi
ESTATE, O!
more purely
"
up
sets
nunc
the pay
ol
activity as
chesi
ir
Alamagordo
.i
touch
obvious, though
nicelj equivocal
is
the handling
in
is
a little
art transactions,
to
ot
to
ii
funding these
the
tot
KM PHENOMENA
in
in
and
lethal,
other projet
of the
Leonardo prophetically
here.
perhaps
response CO environmental
III
his dangerous,
which we could
to "SPEECHES,"
AGRIC1
to cast
artist
In
swamps'' to
ai.
standard
seems
It
which the
ot the arena in
the slutt
ofl
appear
comedy and
in
VARIoi
The
INI
it
artist as well.
not.'
[ere
illustrious
house of Sforza
liked to do.
mode
is
that, and.
competences and
the auspicious
of
now
is
embue
commentary
light
not
is
it
a sort
can ex
river.
too small
lar.
underneath trenches or a
which
in
is
made without
light
with which
easily,
project
It
the simple
No
qualified to engage
is
assures us chat
.u\
owning
walking
doesn't hark
iii
r,
Ins
,i
different way
he mt ans
dog
a lobstt
pi
i
rhaps
on the rue de
set rets
The one
of irony has
artist
most
clearly
committed
to the figute
is
have found
it
Duchamp
that
Nothing
made
ever
him with
The
others and
Morris
tries to
connect with
The
rest
is
Nauman."
first
four
experiences with
them and
their work,
and
None
artists,
Dayton
is
personal description:
to
He seems
to
enjoy playing up
abundance
to see
When
the
the
of contingent detail.
far
of the three
A Journal of the
shares an
it
has
it
Sacramento." After
a first-person journalistic
in a studio "outside
on his face
all
26
Michael
artists like
paragraphs.
lower.
who
was much
to
in one's ears
chambers
Duchamp. One
all his
seemed similar
It
relation to
out from
is
was so
artists
showed me
first
inlets
would be
asked if I thought
unsightly.
chamber observatory
Taub was
He
chambers
Any
his early
series of gas
palette,"
of these
acetates, nitrobenzene,
finally
and
all sorts
of surrounding
Finally
had moved to a
the wall to
within about six feet of the center plank. I was feeling the
and as
On
the
way
to the
revealed that he
19
is
embarking on
"lincier than
up with
loads Morris
pack of scientific
and
calls after
it
him
articles
me at
Auschwitz." 25
slight chill.
looked up
reveals that he
on the
/
Dayton
a project for a
So
it's
marked by the
is
figure of irony.
Asher, Irwin,
The
so largely
among
Or
all of
This
is
classic fiction.
artists"
And
the
fantastic, leading to
Though
of Anforum denounced
unknown
/
this
As
and invited me
soon as
stepped into
artists
Morns
tor
by presenting them
March
ripping
in a
to.
issue
ofl his
three
in his article
and
context that he
The
(
letter,
written
onnecticut, in a
DAVID ANTIV
and produced
moment
its
works
Morris's
ot local
of
readings.
there
But
in the
turn.
tunereal installation at
York
in
1980 called P
stranger
Sonnabend
New
in
ttured a
astelli
no. 101
Night)
Museum m Washington,
Mm rte
name
(the
Preludes (For
1979-80.
A. B.),
Italian
inmate
hit h
D.<
L981 at the
1980,
Hirshhorn
.,
of
and an installation
I,
A-bomb
tirsr
a massively
st
both
who had
of the
on
oi a
retrospective, goes
to
<>t
in
which
him
The
intent oi the
dwards
letter
is
obscuring rhetoric
which
in
Was
was
letter written
Edwards
tin
omposed
from
tool
sell
by Morris'
so,
It
.1
town
hi
argument appear
the
in
mouth
ir
was
metaphorical sp.uc
oi
might appear to be
a fairly
Madison The
ailed
ulated to
al<
<
European modi
far as
Morris's answer?
mode
inauthenticity
ot
would
Edwards
\\i
distn
ii
ate
r<
urn
Possibly,
but to what
trily
thai
Morris wroci
had
-..
such an
to construct
havi
effect
gam
eli
foi
truth
thi
ii.
ii
|
and
..i
in
of
is
1,
no
it
tv
and
is closi
hi
to
New
thi
and
thi
\
I,
inhibition
ii
kind
\ pi
ol
prii
ts,
S&M
It
us
oi
and a
rat
from
hi exiguous
rushed to
German
painting taste
Both deployed
In
junkyard
si
by
n. tins
ol
styli
menu ol
an expressionist
i
and
And
in thi
muddy
chematics
"
kind
iii
financially
rewarding.
journals
more
assist the
revived expressionism
ot
ss n a
lil
art oi
i.iw n
worth
win
ml in
paletti ovei
1
mode
eptual
U marketable objei
no 88)
uriously
the
employ ing
sufficiently successful to bi
quickly assimilated to a
continues to spread
(19
leai
al pi
om
in
problem
thi
developmem
Or
graduati
importanci than
IL.n:
nied the
4 2
oi
of]
126),
xpi
plus K
dw.udss n.ium
(Madison
ol irony
id. xhibicions
'
him,
less
of buffoonery
pieci
to pay ai
ii
the
ol
noi Molii n
literary skill oi
tin
lioolediicatioii.uV.il'
Haven) But
he absurdii
is
And
cleat
juiti
I
Morris
ii
onstru ted
is
follow from
h<
exhausted
some
nt
<
or ripping of]
availabli
si
change
radical
to raise the
requires
It
primary
meaning making
hi
adapt
I'm not.
n.
more than
takes
It
mam
to position the
discourse
meaning making
ot
how
is
we might
\ni quit<
Western
traditional
interpretation here
in
tins,
Is
ol art
hieve this
a<
to be read OUt oi
going
diffil ulty
oi
perft ctly
is
an apparent
ot
rial
Or
ol
easy enough to
of
a mode oi meaning
making derived from our response to the materiality
of the objects and the working procedures used
to fabric ate or arrange them. In the work oi the
lorm work
and
it
arouse suspicion.
Morris
pattern
followed Morris's
artistic
pn
isi
ol
Di mail
in all the
Kuspii
most
its
prolific
American
publicist,
was seen
it
as an
No
on the market
in
for
come
in 1982,
the
reliefs (pp.
come
to act as elaborate
oil
movements the frames echo and repeat in threedimensional form. By 1986, these works are presented
in an exhibition at the Newport Harbor Art
Museum, in Newport Beach, California, accompanied
Preludes (For
A. B.): Roller
Disco Cenotaph
34
35
86.4
artist.
for a
(detail). Italian
x 7
inches (88.9
to
Robert Morris.'"'
be drawn a
to
Modernist paradigm as
it
wider than
little
in the art
it
artistic
confidence in the
all
was understood
of
first
Smith reading.
that.
The
came
is
and Surrealism
to their
to say that
themselves from
to free
Cubism
work
and Surrealist
art
managed
all
Which
it.
art
and
And
by which
mean
War
II
American Modernist
work of
if
last
group of artists
Modernism
still
in the long
career of
and Pop
art, to
1960s and
its
dominant
its
own
terms, had
come
and power,
in
which
it
was unable
to
in
to
occupy
by money
engage
and
social
was
War
largely
work,
The
to this pass
of World
environment.
from
a very-
undamaged by the
conflict,
culture.
to see themselves,
with a great
it
were
firmly married
in their
the film
still,
and the
TV
moment
communication
in tine
image
a great sense
its
victory over
what
this
from
it.
of a
("the best
intelli
its
i
tuals
<>i
,i
systemic ami
painters,
tei
hnologii
al s
ulptors, tin
posi
Popust
<>i
lard
edge
figuration
ID A
NT IN
4 3
m
Jornada del Muerto 1981.
reproduction, mirrors, steel,
Hirshhorn
Museum and
Nylon,
felt,
human
photomechanical
DC,
seemed, with
intellectuals
omnium,
scum
who exen
who opposed
civil-rights
lie
ii
tearing
i.
movement
All
tins
<>l
Martin
Valerie Solanis
In 1973,
ft*
thi
o
spei
splinti n
>l
uthi
Let
King, Rob<
tai
It
by
Harvej
rt
Watergate unfolded
testimony
t.u
lor long
hams
ol
looking
ret
i
ited bj
aught
in
academy
hom<
ol
supposed
a soi ial
movement dominated
tin-
when
at
the point
The
was intensified
a p. in
John Kennedy,
iequenci of assassinations
Oswald, Malcolm X
If
no rational
disintegrated into
New Left
ommissars
Kennedy
i.ir
Blai k
thi
nd as the
1
revealing
it,
ised
TV
a gap
paratisms,
4 4
before millions of
tive
..
prodiu
hniqui
iety's
s<><
setting
underwriting
its
It
wouldn't be
mm
in
American postmodernism.
understanding to
inn onlj
politil
all
was there no
then was no
loi artists to
signification
generalize tins
and to conclude
common ground
umw
rsall\
in the
niiimnii
that
body
ground
in
the
much
The
either,
which
essential failure
London
museum
due
supported by fragments
Salle, largely
new
even David
as also a
narrative
to the
new
tradition,
common
in
with the
and, at least in
phenomenology, undertaken in a
where an invitation
grounded
social context
to a conception of the
body
unified
fun
graffiti painting,
fair/"
reality
in its physical
to his
its
its
of
its
in
this
like
wished the
from
it
to confront.
attempts to
art
post-Modernism, while
call
the physical
Modernism
body
in the art
that expanded to
fill
significance of the
the gap
left
11
mode
new
and
November 1989."
in
In 1980,
obvious property
suppose that
and, to that
is
on
in giant installations
whose most
magniloquence. Are we to
an
America
in
commonplace theme,
by the fading
autonomous object
Art
vast scale,
in space.
in
its
is
neutral settings.
Still,
to require
As the master
and
narratives of history
to replace
them. So the
earliest
art history
and most
came
effective
new
local in the
Roller Disco:
collection, etc.
are carefully
circular floor
in pieces like
texts
woman who
(1973),
and virtually
Somewhat
later, for a
its
ball, the
half.
The
art
edges of
is
and a
poured as a finish
all
of
works.
sawed in
the story of a
of
bowling
wooden
elaborate
floor.
trusses.
is
large building
is
erected
No pole
installed.
campaign
suitable
is
initiated.
name
is
found.
discreet advertising
roller skates
an
allowed.-
"
The
encoded
the Ferrari"
in literature
the sense of an
immense
surfeit of
images having
deployed by
mode
that was
much
most
artists as different as
overdiscussed
effectively
Barbara Kruger,
rov.il
The
texts
loo
installation's
steel clouds, in
Second Stua
a S( i-h
tin drifting
DAVID ANT1N 48
were they
li.it
we
ride
Jet
-it
works seek
to
So they seem
more
these
It
propose
arises, thej
to
cliches.
It
it
representational
of
themselves
to position
of representation tor
produce
mum
The
an exasperated ineffectualit)
of
thej
ot
become
rehets that
de
tin
siecle
63
73
Sonnabend
15 inches (161.3
Gallery,
New
186.7
much
function so
York.
as paintings than as
ot tlte
mere
exprt ssmn.
of
Suue
possible readings.
much
so
as tin
ami
works on whatever
poodle
bin Morris's
s.
even
,il>
Self-parody, then,
mb<
n mi
is
Ins 197
is
urn Minis
S&M
Untitled
95
9(
ho
produced
Smith review
thi
difTerem
ntirelj
In
one-
the combination
1990
are,
orcoran
<
however, in
rally
it
parody both.
t,i
iat
lose
iallj
poster.
show
a possible
closes) to
it's
s<
becomes
Nerval walking
a
expansive
in its more-
as in
target. Parod)
German
sie< le.
moments,
parody,
ot
think two
h rm.m tm de
signifiers
decoration
of
fe<
of
that discounts
composed produces a rebuslikt tie
their size and makes them operatt like oversize
diaw mi's
Because
on lang<
.i
image bank
the
:<
<
is
lear; tins
emblemati) significance
its
mo
iiiinMs.
products
1
bj
is
no means
live
in
an often enigmatit
relation
these paintings an
is
and older
source
thi
is
draw n from
ot .ot
noi
nt
["hey
d( IiIh ratelj
ol a privati
mm
on
tcln
vi ii.
us metaphoi for
seem hermetit
puzzling
emblem book,
1
hi
n mi
ii
dream
ill
oi
'i
is
like
in theii
the
analogues
I
u ud
structure, analogues
1.
f<
moils
n
die. mi
Tin
Untitled
al
and pasl
'
Hi
pi. i\
(1990, pp
hi
"''
of Witi
meaning
in
nil
in
sp aks hke
(
freer,
.in in. i.
Ii
where the
among
floating
Jackson
Pollock, Ethel
meditating on
"to
go so
its
in a different sense
us
far as to try to
The
pain."'
it is
so
is
not hard to
more or
allusions,
less
obscured by time,
may count
We may
have a
image reservoir
access.
fair
Or should we
to learn
is
"We
by heart,"
only learn
and reasonably
images
work with a
Latin.
little
is
But the
at least as variable
and
so with Time
of
we hunger," and
sailor,
idea of
if
Not
which
to
hunger
hunger,"
is
for less
learn by heart
to
is
we
"All
for
to hunger," "To
is
by heart
is
forced from
it is
hunger" allows
by heart
image
in
head.
The
And
powers
which
is
really
literally situated
is
for?
one
of
which the
sailor's face
words of the
title
swamp
And what
it
in a
induce
me
after all
put
to
it is
my hand
in the flame
although
have burnt
myself?"
The
is
simply in humor.
which
on the right
Memory
Hunger (1990),
Is
The
film
earlier as
sits
in
Yvonne Rainer
Feast (1964)
figures,
The Colossus
(ca. 1812), a
S&M
it
poster,
might
and
as well
a soldier
be
is
women's intertwined
its
still
nostalgic, comic,
memoir A Movable
it
lives, their
complex
relation
It's
them
flicker
and
illnesses,
and through
Keaton operates
like
its
its loss
through
one's
and ESURIRE
If
("to hunger").
title
own young
dream may
be,
is
were exhibited
at the
So where docs
way
among
<
>r
In
Corcoran.
i<
DAVID ANTIN 47
authenticity.'' In spite of
my own
distaste
body
consistent
who engages
artist
of
him and
soon as they
persona
(.ease to interest
ajudd
is
them
leaves
as
or
wide
is
The recurrence
field.
within
of the gesture
on virtuosity within
narrow range
ot choices
not as
it's
it
some
at
Because
it
a sculptural discourse
communal
the
Investigations
18 inches (45.7
Gallery,
New
York.
in
end
at the
tor
artists
made by
is
persona
a persistent
is
and
a nervouslj attentive
A nomad
mobile one.
why
hard to see
It's
it.
surely as authentic as a
homeowner.
A
Roberta Smith,
The
Net.
/."...,
<
No
Hypersensitive
Kublt
irge
Smith,
New Gustons,
In
1978), p
Hilton Kramer,
"A Mand
Tht Nn.
m America 66
,'31
York Abbevillt
neral sociological
its
Howard
distribution, set
mil
Press, 1981
Storr, Pbilip
ii, i,
win n
Decembei
Moms
in
i.i'
feel
si
in Ibid
paint
to
thai the
not
Notes on Sculptun
Pan
6);
Octobei 19
in
Batti
or)
and
reprinted in
ock (Nev<
">
ork
Ann
ml Note
12,
II.
'
1
,
1.
1968)
no 8
.ii.iii
69 no 10
><
mb<
<
10
Somi Notei
ivati
\|.|il
'
i4
<
'-
Beyond Objeci
Part IV
Notes on s ulpi nn
Moi
foi iln
mi"
10
p|
...
Morris
Sculptun
Mon
M'.i
-I
mark
of < tradi
Itwasonlj
of graj
M,. in-.
1981), pp 9
I"
u-.c
96
(April 1969),
1H
of
University ol
(Berkele)
rids
repeated Ins
i* rsistentl)
Critic*
Dun
I
ol the
{rtV
Becker,
inches x
1986)
Press,
Notes on Sculptun
account of th<
ame something
bet
it
9 Roberi Mums.
hes (3.64
full
se<
had so
fanuar)
a inn but
For a
<
where
uii
7 )e-'
on aluminum,
no
Be a Stumblebum,
riding to
i'
\rt
it* Histat
L02
!"
University Press,
Februarj
(Januar)
It
IT
mrki on
Memory
II.
Ibid ,p. 33
2.
:.
fbi
20, 1991, SO
|.UH..,rs
'In
i,
'i
Part
no
I\
Phem
14
lology of Making
(April
in
970), p. 6
rhe advertisement
WiHinulnm.
is
.in./ ii
reprinted in Maurici
\.\v York
Berger, Labyrinli
Search
Time and Loss and Grief and the Body, 1990. Encaustic
11%
on aluminum, 3 feet
inches
17.
1 1
of the artist.
391
Allantictis,
the Life
as cited in Serge
r.,
of Leonardo da Vinci
and development of
artist.
Mark N. Edwards
in
2833.
the
'
another
Works
Artists:
shown in
174.
p.
18.
in the article, as
(New York:
Madison, Conn.
(Artforum 9, no. 7 [March 1971], p.
8).
22. Ibid.
23. Ibid.
Arbor, Mich.:
24.
excellent
is
[in
group of fictional
notion that this
field
a parody of
not so easy to
The
25.
The
something
29. This
The
however,
is,
as a hard
and
attempt
to
put
He
By
and work
again and
to be
His
an
all-out
create
of thru unknown
a prototype
He
attempts
kind of literary
to
deception allou
Morris
lie
untamed by
Ha
intentions
ban
instead to see
him as a
m.
decepi
a particularly
htm
tensitivi
bii
effet t
on
Morris has
t
mporary
onti
The publh
is
sworn
1990),
bi
bos helped, as
Press, 1989).
DC:
to
Endure
or
Deny
the
p. 58.
DC: Corcoran M
\rt.
p. 50.
in ibid.,
I974),p
significant artist
Object
recent critical
Yl
is
catalogue (Washington,
College
weather nine
The proposal
tin
pp. 17-18.
now
figure fad
tin art
yet pathetic,
nor as
and com
who, as
the system.
a situation
Henry
more
33-
since
to enter into
Years:
from
interpretation, see
/>,/,
and outside
remain anonymous
his maturity.
it,
Avant -Garde
himself.
he attempts to
artists,
when he entered
object, see
lift
painter
very
is
31
<"i
fast easel
much
reactions to
articlt
3-21.
in full:
Sirs:
We ma)
pp.
Beacon
worth quoting
is
fix.
is
1980s (Ann
28. Kuspit,
in the
Art
is
New Subjectivism:
by devising an elaborated
UMI
New
York:
New
(Halifax
N(
York University
I'riss.
)17.
He got
with him.
it
all
and gift
at manipulation, perpetuated
this design.
He
has again done this through bis involvement with the thru
DAVID ANT1N 49
FRAMEWORKS
Annette Michelson
undertaken and
work
fulfilled,
would, that
It
impression
There
of a
is.
gray-painted
of
steadiness
false
the labyrinth
as in the
lozenge-shaped
circular Labyrinth
Mask
work,
in Morris's
mofani
Auguste Rodin.
its
discontinuous enterprise.
somewhat
elements
to explicate the
and reveal
of course,
appears,
components
a task that.
is
would serve
trace
is.
of these
modes,
1974, no
and the
mirror.
Pate de verre, 8
inches (21.9
48.3
mimetic synthesis
of their functions,
movement
screening
in
symmetry
of a
Mastbaum.
And
works
to
come,
tor the
as
form
of
the nightmare."
is.
It
mirror image.
is.
labyrinth
t\pic.il
framing and
proper, of
its
changing
of
"the
the frame
role
it,
one begins
and forth
in
time
In 1977,
an account
Id using
works
!),
largely,
VLasl
of a \isit, in the-
the
fading
though not
,md
Rodin Museum,
light
08)
li
nonetheless, to re-mark, in
on three
ext lusively,
Hell (1880-191
he pauses.
Solomon
BO
lllllll
R.
Collection.
it
sculptural desire.
When,
when
a bust
is
is it
is
an unfinished or
body part
and
example, that
for
fist
in the
"
The meditation
image of
"a
though
as
in a
we encounter
we no
its
fragment(s) >
"
kind
sense,
of part,"
from
may be
he sees that
which they
are, as it
as
differs, in a crucial
a bust or
said, present
it
latter two,
it
And
20
Morris
(6.37
4.01
Museum.
Gift of Jules E.
Mastbaum.
Auguste Rodin,
inches
Philadelphia,
together (and
how
else
own
29
Museum,
3
.1
in.
// is
dispensable,
explained
"because a
to
to
movement.
gi rturt or act.
that any
man walks
on his
legs. "
This principle of
anatomy can
gesture.
But
criterion of judgment.
in obedience to the
Rodin tends
yields
it
An
a clear
hands us a
to spoil
a u orb when,
figure "complete."
speaking
of his
own
visit
by
ANNET1
The
his
first
Hell In a paratactically
thump and
beat of brass, he
an iconographic inventory,
its
St.
framing
cannot,
in tact,
and
as
float
lh//,
opening upon
but as
population melting
Christ.
roll
Eill),
swim and
and closure we
offi rs
figures
[and] sin,
[and]
down
And
into
..."
state
basic
Morris pauses,
descriptive
these, really
if
None
ot
The
..s
"operator,"
are. in
am
case, neither
melting.
"The
we might
s.i\,
(hiris ot
si
of a
ot a larger
discourse on the
nit
Museum
hob
feet 6'
of Fine Arts,
Richmond.
tat ular.
inches
.79 m).
'Population melting
successive variation
return," in
And
English
e
e
ssive
Dh
down
tionar) as a
heat, or
into
is
indeed. Defined
clinker,
euic ot
linker, additionally
mass
ot
v isii
in
the
linker."
the Oxford
brk ks fused by
lava, the
to the
ot
verv phrase.
hardened volcanic
.1
Woukl
not. then.
Roelm Museum, and the
own
it
oil
culminated
in
1984
artist.
known
as
swimming
or floating
effluvia,
with a query
"Paintings?"
of another question
One
and
a reply in the
Hydrocal,
oil
Enterprise, to
15 feet 10
on canvas, and
steel,
sort?"
Of painted
form
what
11
by
feet
feet, respectively.
fire,
The
horrific
elements
manner
Hydrocal minimally
to the intimation of
all,
the sense
it is
the startling
The frames
destruction.""
is
reflective.
It is
as if the
image
tall,
massive
in a
oi
disturbance
oi
ANNETTE MICHELSON 83
ground
figure
framed
and
as an Inferno.
such
of
manner
in
work within
which an apocalyptic
-fct
ot
within
One
is.
account
and function
status
frame
of the
its
change
o! tile
the
toward
trend toward
substantial frame
ot the
suggested,
work such
of
fabric ot
Daniel Buren,
strategy
We
will call
it
or.
Mondrian
to
its
color.
to
as
the
an evident sublation
in
of the
to Stella,
of
has been
it
articulates another
"disframing,"
process that
ot the
was
nineteenth
proposed
(he horde n of
m.K
In a
pre
re
se
<
is
is
learly
the
inserted
framing, that
of
painting
of
ment
che
ol
was
It
ol
natural
tin
a\]^\
of
<
is
n> it)
rogi
ii
photograph) on
illuminated by consideration
ma
int
pn urn frame
Ik
of
that of
the
relief
tr.iine
of composition
assumed,
impact
de tine (he
rail)
picture frame
1
the
is
It
and powerful lj
to stress the
In-
painting.
warns
of pictorial
In
effect ni tins
one'
in
ntur\. to
from
exhibition.
in
composition began,
of
ol
moment, however,
For the
th<
picture
Baroque
between
w-
and
pii
is.
between "painting
realit)
>
icing (In
<
an
as
ii
'prevail n<
maximal K
everyw
hi
ch<
ol
gildt d
qualit) of coloi
1
i.i
dial
i
onti
to sa)
is
si
is
te
B4
iIk
mplation
as oni
to bi characterized as centripetal
Rodin
The Gatet
of Hell
1880-1917
he spa<
(detail).
>i
is,
presumed
to
presumption, as
and
common
The
spectator
as a function of the
thus positioned,
is
moving camera
"the world"
15
phenomenal
world. 16
Its
intimation takes
lies
frame as marker of
way
which
in
this
its
'"
ground or
is
seen to
we ask about
work of art. And it is these
what Derrida
and
12 inches (243.8
teleology,
121.9
fir,
96
48
30.5 cm).
of
which
ground
)" ls
.
through
It is for
destroying
it
who
it,
without
form of question,
its
all
19
space in the discursive arts to the voice of the logos."
And
It
art
2"
not
The
it,
it
not only, as
ergon,
is
hung.
When
the extrinsic
made
is
thus contained,
intrinsic.
ANNETTE MICHELSON 55
One
could
say.
is
is
this
It is
84
Williams College
96 inches (213.4
Museum
Twelve
x
243.8 cm).
of Art. Wllliamstown.
decorum imposed by
ol the
"opticality."
a questioning
series.
It is
manner
assumed
Marcel
from
which Morns
in
Duchamp and
with
a special
resolution
the
on the whole,
upon
particular stringency
And
An
in this
243.8
New
72
96
18
47 cm). Solomon
inches (182.9
R.
Guggenheim Museum,
Pine Portal
1961
as an instance of Morris's
what drives
is:
this trend'
ol Morris's
This work
correctly
is
ulpturaJ concern w
st
human body
has
no. 8).
One
- '
its artists.
course,
>t
ited
ith
it
also
functions as frame.
-Barrier
-A
1966
works made
L968
to
(no. 15),
class ol
(for
1962.
visibility,
DO
with
maximal
all
lew.
Fiberglass Prami
fiberglass, with us
opening up
work
ol
translucent
ol
edge
- Two works
aluminum
in
(nos
6),
both untitled,
and 60 inches)
and frame
surt.u is
maximum visibility
ofrei
ol
66
parts and
floor spat
work
was
\\
tllianu \iirron
(200.7
228.6
30.5 cm)
90
us
id
rt
e for
shifts,
'"*"7
,
to
no. 134)
object thai
the
/)
inn
don
lere
sculpture or frame
model provided
Ban
I
is
l>\
Ins
si
in
11
o 111-
111
Mur
begins by noting
Bridt Stripped
56
freestanding
One
Duchamp's Tin
is a
ol
other .mists
in
ol Ins
One
generation).
of the work's
title,
it
Pine Portal
is
first
work
to
be considered
in isolation. Rather,
to Barrier, a
it
the
These two
objects,
variations,
couched
made
In Atlantic (1967),
Snow made
work of special
position.
not, however, a
and
transformation.
from
a year apart,
in the dialectic of
deep
set, in
recess, within a
surfaces that
is
form a pair of
approach and
image
of the
object.
avoidance,
is
all
Snow's project
and tridimensionality.
is
its
The
in his problematization of
strongly evident
of contemporaries;
it is,
to
Snow,
also
who
we look
if
in fact,
at the
work
expand and
is
own
to Morris's
and written
texts,
which he returns,
to
insistently transgressive in
We
its
movement
that
medium.
impulse behind
this
movement and,
as a first step in
mediums
inscription
its
of desire."
first
Why,
uncommon
it
framings
more
film,
La
performance.
It is
to intensify.
that of Michael
(1967) and
it
in its thrust.
the frame
institutional
uncommon
We
to the
and
second. 25
8x70
in the first
movement
in the
still
is
composed of
its
and
teaches
change
of angle,
her
event.
know
all
the same
disavowing spe<
,"
.
is
is
qualified,
tati
ally
undermined,
ii
only
momentarily.
ANNETTE MICHELSON 57
To Bazin's insight
(grounded as
Frame
in
it is
plays
censorship
the inherent!)
of
of the frame,
invoh ing
seen."
It,
sense
in this
is
It
its
human
work may be
cinema, with
its
"The waj
the
like
something
space has
do with
to
kind
makes
also
it
remove from
ot
permanent
a less
lew
but more
possible
it
what
it
has
then,
re.
[(
is
rethinking
the
of
inematic
accommodation, through
formal development,
looking.
of film's
its
of "scoptophilia," or
pleasure in
It,
moreover, help to
will,
It
work on
of Morris's
or the cast
arm
symboli<
example
(In
tram
Morris's
Others
the-
<
ntral role
it
corj
Enh
[ydrocaJ of
while the
of
>
las in
to that of
inema, as
in
problemati/ation within
to entertain a
is
rprisi
ot its
expressive of
full)
lantv
Snows work,
meaning
(insider the
illation. For
of
among
instance
(
the frame as
register of formal
Pan Portal
alls
ot
ieu ol film as
llll.l \ \
subjei
is,
ike
its
it
is the ant u
.nit
In
express thei
i
In
jo)
muc
simple
soon be abli to go to
which have hitherto been
who
revealed
i.i
bj w.i\
ft
l"
i>i
in iosii\
hildn
everything
set
to
us source, he
oi
uriosity, whit
li
is
sexual desire
waj going to
joj
pleasure in looking,
In
in this
to look
espet
analysis of tins
In
girls.
minded
reputed often to
ngagt d
I'uistmir
As an
looking, Freud
in
pa (ion von id b\
oming
is
to the
counterpart exhibitionism,
to
li
Scoptophilia
ii
i>>
thi
the girls'
.illusion ioi
is,
as Freud
toward
p. units
in tins
thi
it
being married
Tins
life;
il
is
an
l>\
persists later, an
it still
know about
the
evident, as Karl
of scoptophilia,
phenomena owe
it is
artistic-
disciplines
It is,
form
documented by
in fact, this
sublimated
knowledge, which
is
that
we may understand
field
and symbolic
It is
takes
generation for
its
is
mm
Still
from
The
discussion in his
Carl Dreyer,
35
mm
Joan
of Arc, 1928.
Still
from black-and-white
.59
kind
aestheti
infini:.
In
Pnn
after
made
Portal), Morris
of
open
to
in all
lull
relation,
work
irris's
n does not.
performance
Si
among
Belle Haleine,"
The
set,
and
to
claim that
pt of
it is
irttn
tntaneousm
and sculpture
ernist
defeat theatre.
a transgressive
symbolic articulation
ot desire.
channel and as
And
'
theonzation,
its
and
level
in relation to
The contusion
is
such was
others
feasibility of
u ant
indeed perceived as
in
of
The
of
(in the
to be for.
it is
of their pn
painting
<..
attention directed a:
dimension
in
rt
one manifestation,
is
ot that exhibitionist
to see
H-.
it
andfullness,
depth
its
convinced by
among many,
.icute.
om
of
between Supposedl)
reception by
its
Modernist doxa
its
Cage,
by
the dictate
movement analogous
in a
tradition had
of his heart,
Duchamp's, broken
to
through
was
It
in a spirit ol
These
in
which
ace
[aimed and
field
iii
operations,
In tins latitudinarian
Modernist
limati
to a
'I
performance
art
|<
in-
differing
the
laum
issauli
tin
rformam
in sui h
forms
!-3)oi Stadiun
main
is
'
ni a
desperate
apparatus
il
ol a
studies,
Mod(
rnist
a
i
fi
ns<
movem<
ishization ol
nt
bj
ided artistii
oi
in de< line,
in its
tnes
prai ttct
hus, th<
inn d as
in In
is
in
ralized
ol
an
interrelated gestures,
construed, not
acknowledgment of a
onsummatt Ij
rot
izai ion, in a
ii
ol
<
an entire bod)
ol
work.
harai
Rosenstiehl
ch<
["he
DodA
sd< dali
In Prtiscof Heuristi
Robert Morris,
Fragments from
thi
Symbolist
to deal with
newal of ti mporally
pol
system
di
installations,
orthodox] unequipped
olj morphii
and other
this held
ot tins projei
mi.
ol that project
sublimated form,
ritit aJ
have postulated as
as
no
recognize tins
dim And
works
196
installation, mirror
i-e
dism and
asp
works,
<
in
li>
be coherentlj read as
(inn
ill
d by
h<
stablishn
had
p(
nt
ol th(
/
lllptural pi ffoi
s(
ami
i
ot
us multiple forms
earthworks
n enlisted as material
rei
but one
as
si
nee essaril)
in
theorized
ol
promisi uous
"),
united spaa
whi< h app< an
establishment as
riti< a]
nee
problematizing
wider
infinitely
a logi<
pra<
ent< rprise
Modernism an
tenet oi high
intr.n tions
leared a space
hi artistii
(a basic
ti
riz<
Ibid
Rodin,
"i
objt ct
bj
,,,
rM (New York:
in
htfbrd
u. .in Hi.
Rodin Musi
urn,
'in
continuous andentin
the perpetual creation
80 loo
pn
tentni
oj itself,
ts,
this
World. In so doing,
and
in the
silence of
had,
response to the
in
Morris's violation
proscriptive aesthetic.
its
disc rete
amounting,
that on
./>
//
/.
from
./
\i
...
i.
inn
.1
il"
cot oniidi
i
Rodin
nil
Mum
urn,'
in
"Thru
in
10. Morris,
11.
Art
p. 3-
in
which they
and
of analysis
century
Tragic
is
German drama.
Drama,
trans.
me
13.
New
helpful critical
Hugh Gray
whom am
indebted for
What
in
Is
its
pp. 163-67.
38.
There
is
Hegelianism and
its
the
to
comment.
trans.
study of sixteenth-
in his
in conversation
model
An
Cinema?,
(Ithaca,
Eternity,
pp. 164-69.
First
Two
39- Sources for the concept of sculptural "virtual" space include Chapter
15. Ibid.
1953); Bruno
Is
Cinema?" Artforum
10 (summer
6, no.
trans,
"The Parergon,"
m Painting,
The Truth
in
trans.
and
rev.
Adnam's
in Painting
and Sculpture,
16-147.
An
Aesthetics of
Snow," Artforum
9, no.
in
some
detail in Michelson,
"Toward
October, no.
26. Dennis
1989), p. 49.
1 1
in Michael Snow:
and the
al.
is
indebted to the
Signifier, trans.
Celia
have drawn,
in particular,
is
du
Seuil, 1969],
Sigmund
(New York:
5, ed.
is
James Strachey
widespread currency
in the theorization of
cinematic spectatorship.
Sigmund Freud,
Library, vol.
1,
ed.
trans.
Freud
James
(New York:
and a Memory
35. Morris,
James
1964).
Gregory Battcock
ANNETTE MICHELSON
as masterpieces,
may
work
in a
is
him
of his objects
my
entwined
eyes.
was
It
Have
in
my
dreams begin
words
in
my
my
On
The
of
prevailing fashion.
lie
xts,
te
capitalize
on
the-
get up edgy.'
ste in
responsibility,
of warning?
over
itself
as
to painting
Abstract Expressionism. 4
art.
wrapped
The
to those- of painting."
a painter
to threatening proportions,
ear,
medium
saw his
the terms
had a dream
grew
It
itself
dream. But
sleep.
who
importantly) as a sculptor
expressing concerns
accused
The
Mitchell
T.
slutt
in the context-, of
W.J.
late
1980s
a tribute to
It is
Mornss
resilience- of
art-
My own insomnia
art
Work and
the
the works
is
Morns
oeuvre) has
managed
and
classify,
had
(considered as the
working across
artistic
all
it
is
too
mirror to the
a in
yet,
it
one
mi.
work both
Morris's
Ii
nding
toany
itself to
singli
Ii
and
invites
Modern
si
j'Jr
visual
t
hi
.hi.
rhere
look
ot
\.i
work
in-,
made
in v<
labels
si
drawings [nos
drawings; the
a
.'
UK KOMI
i.
in
II
147
\n\
Mill
>
18];
ttigaliom
obje<
ii
an-.
ii.
verbal
se
image
or
program
|iist
as a
n>
will look
it
of
the
Moms
with the
behind" the
language,
ot art itself as
omplex interset
and tin- palpable
.ii
..ii.
wuli
ike
ha
tion
a settled
causi
W(
i.i
In
and consequence
problem
of
ol
Mums
v
isual style,
is
the difficulty
mustering an adequate,
Ins
language
foi
work
.vall
label disturbed
my
sleep.
raises
It
i
i
and
no consistent
offers
late
>1]
te list
149
set
har.u
that lies
alloldmg or prop
without
paintings on
whole
in Ins
Inn as
is.
la.
luoks
drawings [nos
In
Morris
of
room, no way
an unusually large
artistit
nis to appeal
ot a
art. as a theoretic al
Accordingly,
'a
want to
he- is
nuns
identify
toss a
which
ot the- objet
lii
1981
thi
at
e>t
lab
individual
no way to
appearand from
inviting ready
ill'
is
internal to
elaboration
ulpture,
01 si\le
resists
is,
reflects a
it
Rather,
era tor
nition in
ii
management
the-
art ot its
onceptual
Morns
labeling
of
concerned with
ot issues
of supplements.
artist
committing
excrescence, a
institutional
mere supplement 7
representative,
(Minimalist
prai tie*
performance
that
rat t, is
merely holds up
it
An
Beware
The problem
to
lor the
tunc-,
rub.
terminology of
American
"representative"
<
wall label?
of a total
to produi
that
of Ins
name
begins.
A mere
to
styles, artistic
to think about?
essed status
annoyance
slithers
ai
and
linguistii
blurb
coils in the
Mi
tin-
Insomniac's cold
litis institutional,
shadows.
It
tautological
"
in
my dream
From
This difficulty with labeling
Modern
new
its
Museum
at
of
Modern
Art.
field of
From
Krauss
moved
goes)
what Rosalind
we have
history.
would have
depurification
and
elite
moment
and
who
are
more
all art-historical
is
to
master narratives,
whose
actor, writer
and
who want
pictorialist
is
no doubt that
and
Duchamp,
it
its
Minimalist visual
continued
aesthetic
art,
Minimalism
of Steve
artist.
'
of art.
It is,
"One
is
must be
reckoned with, even by those who want to resist them,
or
United
this
after the
in the
short, a story
Modernist abstraction
a story to
we
II,
between mass
likely to
for visual
power
to
purist avant-garde at
of high
one
States.
from the
artistic "seer"
of
in other places
most
for
to dazzle
been impure
impure negative
and
that either couple the visual and the verbal or erase the
fully
all,
a certain cultural
The
im.
language
of
less transgress
The "eruption
a gridlike art of
painting, from
might seem
art,
and
temporary
like a
Post-Modern
more
reflects a central
least in
moreover, not
is,
relation
in the
hypnagogic presence.
art-making."
historical effects
Now am awake,
lamp
its
rectangulanty
larger, longer, or
larger
historical
to consider
to a
menacing
seems
to pulsate,
its
tell-tale tick
of
finally
recedes
floor boards.
The
Cold
the
be clearly "behind"
us, replaced
War "New
capitalism as
world system.
final victory of
is
sculpture.
seem
0C<
urring in
about
is
and
label,
Minimalist
of
confronted
deliberately
What can
What
The
labels
ts
inexpressive," "deadpan,"
seem
objei
i
is
labeled Slab,
an w< possibly
to say
it
all, to
s.i\
exhaust
its
Modernism (notably
On
and "inarticulate."
relation of art
in
The whole
situation ol
.1
to
MITCHKI.I. 63
of art,
On
coherent narrative.
Minimalism
is
intrusion by language
theoretical language
especially anneal
and
"No mode
to
it
in art
No
has
art
ever been
pledged to
to see, the
silent materiality.
more there
The
there
less
is
to saj
is
"literary collaborators'
is
became
writers. All
File
(68.6
d'Art
26.7
27
x 5.1
10'
cm).
<
forty-
2 inches
Musee
objects
National
puzzled beholder.
tor a
Pompidou. Pans.
Then with a certain trembling
"mere
me, there
strikes
it
no such thing as a
is
my
wall label."
feverish brain.
doubt about
from
aim
its
it,
is
Its linguistic
my
panels.
In
Minimalism, the
oi
the succession
in
seem
tull ci
those
lor
The
art history.
fixing ol
Libel
its
ol
made
ts.
silent,
.inisis.
ol th<
No
my images
"the must
Morris
tlOtablj ol
Rosenberg
w
i.i
havt
the experieiu
the
e ot
who walks
Minimalism
as
,i
disappointment
tins shoi k
is
museum
shot k ol
and experiences
deprivation and
\\i
even
an'i
something
cold,
<
onsoli oursi
thai
Ivt s
40
'
lies
(13.7 x
is
canonical labeling
It
s.iv
in
on you, not on
UK
to th
availabilit)
nd
The wall
label
or at least
in
.ii
ii
hi
z.i
ion in
has disturbed
on the
label.
viewei now
nt
,i
my
What
works
thi
these works?
>>i
authoritj
thi
of A-'
judgmi
Do
sleep.
must squeeze
hai
is
i\n
ol labels
must get a
it
back
to
it!
it
is
.1
w<
present
In
system
The
quite different
is
fati
m\A myths?
grip
on mj
true ignoble
"
84
65V2
Fabricant.
proportions. But
like
it
is
atmospherics of
elusive as
it
gleams there
in
its
Poe-
in
had to
in time,
and
contexts or processes
dwindled
was only
its
most
as the radicality of
its
imagery,
to a formula: use
a drop-in
Minimalist
beginning was
general than a
He had been
many
concerned, like
less
as a hybrid grafting of
movement.
artists of his
of sculpture
object
He
is
an
what Krauss
as
makes Morris
"artist's artist,"
not
aptly calls
its
"expanded"
field.
What
they have
in
common
and
strictly not
is
difficult to label
is
decisions,
some
It
is
rational, others
procedures, attitudes
grid, like a card
file,
understood
word, image, and
employment
in
linguistic threat
his
work
is
hard to consume,
The
in
making ot an
This means
the
much
art
no. 26).
One might
in
when
ts
cases to
that,
anj
spe< itn
successful,
Mil
80
an equal partner
accompany them.
in
The
yourself
the
in
Come
leadenness of
institutional
its
prose.
fossils
In short,
some
thinking,
One
The
are.
oi
much more
is
past
Or
it is
and
And
no. 11]).
time
this
On
not a
is
ot knots,
an
emblem
Morris's Knots
1963, no.
<
51
measurement
U)
<
ouples the
the abstrat
ot
to
produce
a "rational,
,"
art that
aims
"systematii
formalist
a relation
art history
documents
mention
oi
ol
on
in
paint
a dialei
..nd "label,
and
on
annihilation in
Wo
1980s,
si
is
alt
isual
charnel house
pn>|e
present
in the
1981, not
oi
ted future:
1980s
thi
>>v<
v il
the objei
adi
thi
di
thi
final
with
mass
"/.'
<i r<
and
deadthin^
Hi.
"i
ath and
>\<
gn
very structun
turned out to
"editoi
whosi
Ins pi
d, Stai
t<
\iiii
..i
mi
un
i
ii
iii
.i
this
in is
tin
an an
ti
an
critit al
essay
[*h<
is
structured
pn
Morris's
s ( iii
iii
(Jai
al
grid,'
transition from
hoax (the
flagrantly
thi
ol
bt
procedun
typical Morris
glorious days ol
thi
ai
li
ol
movement
and
tort
roi<
./<
Morris's
around
ritical interpretation
impart both
'.
transformation
nd Holoi mst
ntalization
elicit extensivt
is,
mpin
.id. n nui
tin
which
dtural carcasses,
ol,
haoti<
sup
monumi
thi
and Reagonomics
triumph
oi
It je ,1-.
litation
"t
tii s
thi
Irawin
in th<
idi
it
1.
an incompatible within
and
look
ol
tin
in
some
thost
si
barbarism
ol
"baroque" phase of J
And
ii
in
images,"
ghoulishness and
ot
in Ins
asks us to
h<
'dialectical
writer
to
"American
>
the short
essay,
the- artist
it.
destruc tion as an
comment appended
editorial
about the
lu< iditj
(not to
ami form
act usee
tirst
Benjamin put
own
its
or at least
at perfe<
and history
order
gloom
he (and
scene
to a
Quartet,"
such
h, as
hara< ter
Duchamp
monuments
monumentalizing
punsm
ot
possible future in
of rational measurement.
\l irris
art tor a
An anonymous
thai display
mac hine-tooled
when one
arises
),
a rational,
image as
to
is
remote future.
is
exist,
As
es.
ot this
would
Tins
unsolved
frame
movement from
it),
to a less
is
as
to
it
meant
were
about
to 1h literal
is
Making 1961,
hermeneutK duration,
oj Its
image
future
a halt
to
is
The "knot
and
sat
behind the
Frame
lctt
enframed.
is
it
has to understand
body
whieh
present
around the
Edward
ornell's
environmi
ornami
nts suitabli
foi
ol
Neo
III!
onfronts
thi
th<
I(
hi
lool
how< w
painti
In thi
i
in
ti
s<
works,
ing
on
thi
decorativi surrealism)
boudoii
sculptural counterquotations
.
>arth Vadi
ions
juotations
No
uppi
thi
liki
and orientations;
whii
cht
frann as
grid,
id
.hi
.i
vi
form
in.
thi
foi
it
table top,
distinct
which
l<
vi
locates positions
paradigmatii lines
foui
k<
m\'\
boundaries as well as
dm H
is
ii
hi
it
(oi
nduring traditions;
"
and
we
pass into a
Even
theoretical realm."
its
of the
shape
does
it is the
t to
the
known
work. Oddly,
mimic
own
its
it
is
conceptual
six-foot cube.
Modern art
manner of Cornell. Then it turns, in the manner
of Duchamp, and deconstructs the entire structure as
is
known
and the
constant
in these
Hopper;
portrays the
it
it is the
in the
dead
artifacts
The terms
is
how one
Are you innocence, sincerity? Are you but a few simple guiding words,
provocative of thought"
Plato's
object,
adequacy
of the
can't
"American Quartet"
it
provided by Morris'
is
own
it
is
exactly
is
Morris's
work
image or a
tries
autobiographical."
Minimalism
The rude
beams of
of
Mouse
its
must be taken
into account.
specific
Above
offers
all, its
confounded but
as distinct entities."
is
In Morris's
monument and
the ornament,"
mode" of perception.
Another way to define the delicate intermediate
zone opened up by this sort of object is to ask exactly
how valuable or important the object is, what sort
of claims it puts on the beholder. It's clear, for
instance, that Morris's polyhedrons are not unique
why
object itself
'
The
every delight
blocks and
obviously,
is,
provocation to dialogue.
style, as well as
staging of the
to
impinge
among words,
what
and an institutional
image nor
would be better
The
factors that
a self-devouring
its
\bu
"'
triumph once again (endlessly and forever) over the imagistic. Your
image/text;
writings.
is
That
upon the senses together with their opposites.
that is, occasions
is what makes them dialectical
for the experience of difference and contradiction, and
or critical discourse.
answer
from
to distinguish a
is
Main
lost or
That
is
of his
(often
in specific
original plywood.
human
aimed
materials
body,
is
The
many
Guggenheim
decision to recreate
or the object
in relation to
the object,
situations,
its
"open and
of
reside, illustrates
reflei
On
nam
.IT
one
and
ti
on another,
cult
it
<>t
negating
artist,
tin-
works
oi Morris's
everything
is
equal importance
c )i
reproducibility,
and textual
is
it
The
"intellectual property
put
it
Notes on
of
Morns
itself, as
object
S<
not
their mobility,
is
become
ss
l<
'
important.
become
has merelj
It
^/'-important
less
An
c
and
early
larify these
presentsat
is
relatively
work
Tin
issues
a literal object, a
an imagt
is
182.9
72
72 inches (25.4
solidity, not
hollowness; (3)
182.9 cm).
provenance,
title, a
ii
work
a set of labels
ement, opt n
to
am number
and
words
v.
game
artspeak
philosophy
of
yet, k
al
images, and
of obje"< ts.
is
form, beauty,
to
of
is
it
si
open
Or
to all
better
is
an be
refabrications anil
of
.w\A
that
with
of art
tin
it
tor its
pla<
hollow, painted
ol a slab, a
V'..
ailed
least
Ii It
losed
look (like
a rest
inquiry thai
systematii payoff
Read as a
slab
than as a label,
text rather
is
philosophical provocation
Slab
243.8
243 8 cm).
96
96 inches (30.5
word
th<
as a
In particular,
it
ase ol
opens the
object to reflection
on
on<
ol th<
In
ill
is
a system
of
labels, thai
combinations
.ml
thai
San it
to bi
u hi J'
a publii
howevi
publii
\i
i.
is
iIh
ii
ord
<</
ntt
;/,
languagt
oi
1>
tO
vv
is
hum
m>
am
won/has
is
Wittgenstein
(oi
attributes
it
in materialize tins
Morris
It is
and pervasive
ni
ii
of
\\ ittgl nsli in
commonplaci
reflection
an
languagt
<r,i'
pii
tun
to stagi
it
lor
following Wittgenstein's
I.H
tt
tun
pii
ii
objt
In this picturt
n/'/,(i for
Tins
nana
such nan,
a meaning
r/'t
is
which
right,"
thi
ascenario
>
that
might be likened
to
employing Minimalist
imagined
are
artist's
"
cult objects.
activity:
The language
is
meant
to serve for
communication between
A and an assistant B. A
a builder
is
to
and that
and beams. B
out;
calls
call.
primitive language.*
us what to do:
its
grammatical mood
It
unambiguous
to a straightforwardly
label, the
them
is
as "this
an object
is
radically incomplete,
in
They function
in a
name
or label the
in
me
"bring
a
"a
It is
it
it is
game
of
skill,
composed?
really
What
The
molecules, or the
of a
of wood of which
bits
atoms?
in
is:
to
it is
made? Or the
what
sense "composite"? It
chair.*''
The "work,"
and
The
intellectual
form of public
is,
elementary forms
work.
what names
'
"work"
Morris's Slab
are "simples"
call
and
if a
Wittgenstein's language
label into
refers
it
this object
of our language."
might
word,
If a
Is
really "simple,"
chair?
it
Slab a proper
Is
the object
Is
an
command, an index of a
Slab"?
is
translate
designate? 45
a slab."
is
we
signifies, then,
or a generic label?
to a type or a token, a
name
a slab" or as "this
is
is
invisible, effortless,
for
is
invites the
at such-and-such a
tell
has
needs
not
is
is
of this
real point
common
structure of both
unconscious."
"case,"
It is
is,
as a "case" that
is
We do
not stand
in fixated
object, or
its
made
its
making)
is
The
case, the
work
is
Own
disseminated,
Making. In
"
Perhaps, then,
we should
translate the
or allegory.
game
the
is
to
it
as}
see?"
clearly
positivism.
this
It
is
move
in a
language
first
went
to
WJT
MITCH KM 89
want
shows thtru
to
pedestal
incompi
to bt
"iplett:
andthi notation
.holism of chemistry
which
ptak. suburbs
our
of
\ndhow
lai
man) bou
ins to
an am..
as
old and
>f
and of
bou
from
surrounded by a multitude
houses
game
the language
ol
its
from
and boredom
(at least
and aesthetic
propriety, authenticity,
"Minimalism'' provides a
way
enframe
to
oldest
about
radical renunciation
.m>.\
flirtation
its
of art, or
to, its
rational purity
Its
are inseparable
of artistic
post-Modern suburbs
Odyssey
machine
whose shuttling aspects can now be switched on.
Its simplicity, blankness, and muteness are inseparable
complexity.
and this
arious periods;
A Spaa
an extraterrestrial teaching
is
oj
and uniform
new
Of th:
is
put on display.
itself
is
ideologically,
it
interest, to defeat
it
bmk
[gnatz's
misses
mark.
its
what
a translation ol
.is
means
it
to sav "slab?" in
of art
"figurality"
more
to look
the new
and the
ed
by defenders
arc expressed
valences of value
hi
Minimalism
of
In Fried in
new
and
its
u a
but that
111
lie
In a
merely
Modernism
in .u tin
iim
aning as
thi
<>i
11
ii
annot
'
ion oi
rical situation
of
I"
mi
(hat
in. il bloi ks
would
si
rh
uh
on
ie
c.
inns
Anothi
70
ii
it
mil In
.ind the
kind
wi
'In
.how. w
'
o, burst various
ol
11
importan
ol
Inn'
thi
1
ilptun
il
1.
finds the
at
Has
ol
al
"<
is,
in
appropriation
1960s to bandage
of tht
stylt
the Vietnam
in
YYM
ol
wound
been
In
mon
wound
been
ovei governmental
ulpabilit)
H.mss own
duns
both
work
has, in general,
been devoted
ol
onstrut
(hat
oi
10
has 10
11
masks
ami
mask
si
1.1
oi tht
pleasure,
"objei
10
-nil
itself," tht
I
lis
veterans of World
lii
notion
proposed
Wat
II
ol tht
si
ulptural
was a piece
il
ol
bombs droppt
and hand
in tht
bast
hospital
lool
the
kinds
languagi garni
in. 1.
nor
dw
win Morris
tivelj
ii
ither.
In
from
w.i\
Me
is
Minimalist vernacular
of a
bin guilt?
th
i"
nod
from
blo
.1
0111 inui
pi
1
Ins
options
ill. 11
was in the
it
.dl iln
.1
ioiind.il
In
its
Ills
its first
ill
p.
.1
hi
reflect
<
parati d
i(
\!,ii
dnhitioii
will
11
oi
word
that
it
ion
1. ti is
1 1
somewhen
themselves
of its
routine,
more ingenious
to
historicist recapitulation of
awa
became
the vanguard
of history
nj
h us
to uii|inr\.
a certain
of
the radicality
Yi
lies ol
ion,
whn
open
re still
re lied
Minimalism,
iui
on
his insistence
is
to have
employment
break
.1
seemed
more spact
was nothing
is
n tins
tin
ol
gation
n<
new. original, or
am
(chieflj
canonization
exhaustion
ii
of the
to
keep
trine, to
of
refusal of the
of Morris's desirt
Minimalist dot
in
defined as a negation
is
ptanci
tt
keep
begin
"artifice"
like
You wish
in
in
of
forms
work
seem so
In
In
-H
hi
the plinth
01
plaza "i
evocatii
1.1
mon
In
1
d on
.'
|.i|
Ion.
tan,
I.i
\i
w
ii
in
1,
ins
wi n in be installed
Administration
01011s in
Us
appropriate wat
Scvlptukit
Urns 8* Wit
Proposal
t^-rew/s
JommstwicW
HOSfxTM
*>->.<
>
fc
31
_^
Ol
**Wf*4*
J^
Sculpture Proposal
Veterans
Administration
lawn)?
(cf,
What more
ask,
American
lives" in
World War
II?
There
fit
is
object as
what
example or
mask
too easily,
Bay
historical
bomb
just waiting to
gone
off,
bombs
may now
go
off.
be, in
Beam
(1962),
the
it?
learn by actually
Own Alakmg
Sound of Its
We
its
label
The occasion of a
Once one
we must
know
that
retrospective
is,
What might we
already contained in
be inferred from
memory.
on
Why do
that knowledge?
object's
its
isn't
made
as a staple of everyday
common
we have
even a
of these hollow
illustration.
own
is
on Mylar, 38 x
of the artist.
what need
Ink
it.
in Morris's case,
we cannot
a mass-
feel
.1
'
\\ hat's
r<>
MITCHKLL 71
materialized in a specific
is
human
something
is
also
ot
know
only way
openness
is
to dwell
on
few
perhaps typical
specific,
common
objects in a relatively
language.
(I've
an appropriate,
is
among
What
questions:
What
an
is
world, and
its
assemblage: a
/,
image
The
door.''
without
is
pipe
view). Painted
'
inches
maker
simpler.
It
opening
pi/u (1928),
do
CO
work can
And what
it
Libels like so
many
simply serve as
di\ ides
lite
us
an Irom mass
ertain kinds ot
As
nt
>o()s that
of gentleness as
you
tell
You
totalizing.
linguistic
them what
to think.
You
I-Box as a case
elements
fatal
the WOrd
nh
LIhisIit
I'll"
hi
fetishes
image
show
is
in Illation
thai
is,
supposed
thai
beholdi
intimae
1
>
01
Ha. in
through then
.,1
mass
78
delicati
IIOBI
thi
monumi
ill-
n tin
quite
gulag of thi
.11
<
111
artist's
ol fetishistii
realization as the
Minus's work
11
alti
nurse,
that there
is
willing to invest
is
ol
lost
in a
that
"I
bo\
name?
is
then' not
as min.li
one takes
It
It
it
the
ol
sell
relirem e
tin
it
to
someone'
body
to the
in
whu
is a
11
it
tins little
Hi (he
i|iii\iii al
photograplni
image
to whit h tin
label, to
what does
assemblage Construct?
I
beam
is
BMC,
The
01 to
ie\e.ilc d as
ol
"I" has
apply?
it
lation
is
than
one
"),
What
labyrinth ot questions.
noting that
il
it
Morns, or
model
\\i
in
rnatives, seeking
also like
is
something, or
propei
>
aura"
Everything
is
to provide
an be inserted
oli|ei is that
tor
liters, or to the
a
and totems
ol
sense does
to
\\ hat
artistii
it
being
\\ hat
illustrationless,
answer,
as an observer
mote
but I-Box
concealed."
is
You don't
it,
before
something more?
risks
know
didn't
The
<leteiisi\i
11
revealed
is
many
Pop ami Op. The audience
the
of
bedazzled In
ssi .1.
culture.
he represents an aspec
may
may
is
Word and
"1."
the wall
reminder
ot
swimming toward
taped commentaries,
to
image
even
himself naked
ot
be
Magritte's
is
the work.
all
mvites us to
it
move on
solved
is
Like Rene
a door.
box naked
ot the
is
its
um
1962 (open
weaves
effort, as easy as
ot the
first
impasse
to flaunt the
is
word?
is
sort ot creature
a photographic
behind the
box
What
object.''
the elementary
What
an image'
is
no
body
ol
nt fixing
firmei relation
the artist
ol
an
"shifter,"
What
determined
(thus, the
speech situation
first
its
meaning
with
shifts
The word
now
anyone,
it
its
reference
open,
When
herself.
when
open, unfixed;
is
the door
closed,
is
would
is
its
it
if
consideration
full
new
essay
and
as an
to neutralize all
identity, to
and
artist
of the artist.
Is
mean
traces of autobiography
is
its
How
One might
him- or
to
"cocky"?
it
it
u
the second person the listener or addressee). Like the
does
And
experimentation.
yet his
phallic
linguistic
game
as
peek-a-boo
"I/Eye," a shuttling
secret
"self," a
show
to
by Abstract Expressionism,
fact of his
mocks the
just as Slab
(Compare,
S&M getup
in this regard,
Morris in fascistic
and
(the
and
looks
(it
casements
in this case,
wood encased
in gray metal;
initial,
what hides
verbal sign of
character
/;
(3) a
way we think
game
inside the
body
body enframed
as
relation of visual
and verbal
whole
(4) a
game
set of pieties
is
desecrated. I-Box
we
mocks
is
self
(and
a wall,
hidden inside
human
nightmare about a
counterpoint to
my own
dream
as the
attempt
to write
labels.
unique key
to Morris's
about his
meanings or
fact,
dream.
It
me
as flagrantly literary,
with
its
babbled
("it
my
in
It is
The simultaneously
which
entwines"
itself, "slithers
and
(it
shadows,"
coils in the
and "seems
that Morris
must
it
devouring,
is
human body
is
the best
whose "aim
is
nothing
refers to in this
panels
as
divine
behind
had
the
its
opened and
a form of life in
this
work. In
to a
of "signifying," in
which
signs,
this
windows
which
performance piece
an inside-
scandalous poster
a self
as the written
of the self,
his
in the
less
than dominating
highl)
my
images
lie
and summer
.1
Mn
ol
I""
'
:i
and
exhibited
tirst
the
at
Washington, D.C.,
December of
in
my
Guggenheim
the
panels."
is
retrospective,
it
major retrospective,
oi a
own
themselves
art-
retrospective
but of the
artistic career
The paintings
Period of Art."
much
are very
of a piece
nightmare,
of Morris's
trom Mantegna'sDfto/<
anamorphic skull
1974 (poster
Offset lithograph. 36
-'
for Voice).
x
23
(93.3
of the artist.
1816)
Untitled
iled
wall labels
of
been stent
Morris's
in
oi linguistic
threat
command
swim
letters
"elusive as [they]
Roe-like atmospherics
its
show yourself
to
of
gleam there
The
<
and out
in
own
in his
paintings
ome
We
can.
of
medium)
e\i
paintings, insi as
image
r\
to Johns's
in Ins early
in
art- historical or
popular source.
it
be<
In
onversations with
the time
at
ame
ol their
lear to
me
was
that hi
meaning,
Schneemann
73. Surplus
in
performance
at
Stage
that, in t.ui. he
himself
an ism retrospection
process of
memorj
mam
that
is
rhe
lusivt
rbal
\i
.I
labels as
pii
rt
<
ii
.i
Kmii
ognition
'i ii
iln
\\ linn
1
1.
.issoi iative
It's
label in
The
lu
second
labels
do
is
that
not
language that
flu ket
in
(like
and out
;eneri<
n with
) n\
ii
the
allusions)
inn ism,'
<
Nietzschean echoes
and
is
specifically
the
ol
titles
iii
si
thej on lode
bus
like sira\
an almost unreadable;
the
them
first
mon
more
itself,
ol
the paintings
ol
ii
Slavt
his ol states ol
World
i;
and
hi oi
tht
f.
I;
Mi morj
Is
Moralitj
>.
lungi
fragmentarj
assoi iativt
puns
("]
lorde
oi
loard
Dutch
Schultz's death
74
Dead Christ.
These text/image composites may be
we do
and
will
nearly
them;
finally read
and
have no
When
analysis.
that
is
done, however,
my
hunch
that
is
Take as an
in
is
Life
Rush (1990).
photograph of Pollock
Namuth
doubled the
as a vertical diptych,
it
is
more
image.
the images
is
Rush" descends.
work had
a decisive influence
on Morris's
the
whose
Improvident, Determined .... 1990. Encaustic on
earliest
Minimalism
even
should
re-enacts
say,
one that
reflected object
is
The asymmetry
to "advance"
tendency
"original,"
in
the object.
If
that
it
is
that
it
melts.
What we
wax
of a
monument,
its vital
origin,
its
and
its
melting
down
in forgetfulness
radically
But
retrospective.
Guggenheim
Morris's
wrong
all,
provocation and
for
debate on
issues,
in calling
a
whole
fixing as a
and nonartistii
series ol artistu
icon,
more focused
different
same game
is
They seek
itself.
inches (3.64
'-*
artist.
which the
memorable
paint, at the
Morris's picture
1 1
refers
merging with
aluminum,
looking
ot
al
at
ami labeling
unreadable,
lil
U
j
will
possible.
be
in
On
the "issues
the winter
ol
.1
f>
V
LASt MAK
AND FURIOUS YOU GET AHEAD WITH THE DOT AND OASH SYSTEM OH MAMMA
CANT GO THROUCH \YIIH
WILL CHECK ANO BE DOUBLE-CHECKED AND PLEASE PULL FOR ME
EASE
HAO NOTHING WITH HIM HE WAS A COWBOY IN ON
VEN DAYS A WEEK FIGHT YEAH OKAY NOTHING TO BE SAIO AGAINST THE LAWS WHICH GOVERN THIS PROBLEMATIC NO FRIENDS N
1ST WHAT YOU PICK UP ANO WHAT YOU NEED OH GO AHEAD THAT HAPPENS FOR CRYING
WANT HARMONY
DON T WANT HARMONY
IMMA MAMMA NO THERE WERE ONLY TEN OF US AND THERE ARE TEN MILLION FIGHTING SOMEWHERE IN FRONT Of YOU
"OUR
ttONS UP AND WF WILL THROW UP THE TRUCE FLAG
SAY TO THEM AND TO YOU. MY BELOVED THIS IS MY BODY AT WORK OH PI
T ME UP LEO LEO' OH YEAH
SURE IT IS NO USE TO STAGE A RIOT THE SIDEWALK WAS IN TROUBLE ANO THE BEARS WERE IN 1ROUBLE
BROKE IT UP LOVE ME ANALYZE THE CORPUS THAT
10
TENDER TO YOU THAT EXTEND ON THIS BED OF METAL PLEASE OH MAMMA
AT IS SOMETHING THAT SHOULON T BE SPOKE ABOUT PLEASE
MAY TAKE ALL EVENTS INTO CONSIDERATION NO NO ANO IT lb NO IT IS
NFU-tO AND IT SAYS NO A BOY HAS NEVER WEPT NOR DASHED A THOUSAND KIM SORT OUT THE QUOTATION MARKS FROM THt HAIRS
OM HEAO TO TOE THANK YOU SAM YOU ARE A BOILED MAN 00 IT BECAUSE YOU ASKED ME TO PLEASE LOOK OUT IT WAS DESPER
THEY WON T LET ME UP THEY DYED MY SHOES AND IF YOU LOVE ME ENOUGH YOU WILL SEND MF SON
E AMBROSE A LITTLE KIO
KNOW WHAT AM OOING HERE WITH MY COLLECTION OF PAPERS FOR CRYING OUT LOUD IT ISN T WORTH A NICKLl TO TWO
tS
CANT DO ANOTHER THING
AM ALL THROUGH
Kl YOU OR ME BUT TO A COLLECTOR IT IS WORTH A FORTUNE OK OK
VMMA MAMMA THEN YOU WILL BURY ME IN OROER TO SLEEP PEACEFULLY COME ON MAX OPEN THE SOAP DUCKETS TALK TO \b
'ORD LET THEM LEAVE ME ALONE YOU WILL FORGET ME ME AND MY NAME
I
7B KOI
irl
1989
x
182.2 cm).
Cuban
what
Missile Crisis.
art
On
is for,
relation to
it
unknown
destination.
One
2.
flat
became
"a
"Art
&
Information,
Grey
like
Newman's
stripes"
News 63,
no. 8
mask
for
The noncommittal
character of grayness
more
is
like
3.
Deny
Deny
or
6-10 and
Endure
1-23, respectively.
Thing," The
New
Nose
for the
6.
to
the
Gregory Battcock
1968), p. 223.
Next
H,
sec.
Newer Laocoon"
New
p. 33-
(1940), in
The Collected Essays and Criticism, ed. John O'Brian (Chicago: University
of Chicago Press, 1986), pp. 23-37.
7.
8.
Postmodernism,"
(fall
MIT
in
Press, 1985), p. 8.
Encaustic on aluminum,
Modernism and
337^47;
(3.64
feet
1 1
1 1 '/z
inches
10
x 7 feet
/8
inches
artist.
and W.J.T. Mitchell, "Ut Pictura Theoria: Abstract Painting and the
Repression of Language," Critical Inquiry 15, no. 2 (winter 1989),
pp. 348-71, for a discussion of this history.
Key on Hook (1963, no. 28), a cabinet with lock and key and the
Gabo, Kandinsky,
body of theoretical
texts,
some
in the
1.
in
."
.
("Words and
10 (December
1981), p. 104.
MIT
Press,
be closed
1967, reprinted
forever.
in Battcock, p.
New
literal
hidden inside a
formulated by some of
its
and
in fact has
been
p.
"American Quartet,"
p.
An
Expanded
We
may
that the Minimalist pieces of the 1960s are hollow, but the
for
them
is
case),
is
Is
its
James
my
it
to the sense of
Morris's Leave
144-46.
22.
owe
this
1969),
move u
ot
seen
it
gathering
p.
256.
know
What
The
96.
Becker,
first
as a
S.
Press, 1992), p. 9.
attention.
in the
305.
DC:
Chandler
(Washington,
and the
16. See
used in sociology
is
histories),
15. Morris,
14.
13-
on hook
p. 341).
"The
Work
all
toss the
will bt ready
these years.
(italics
of Art in the
temporal
when it touches
You laid that there
added).
Age
of
Mechutm
WJT
al
Mil
7 7
Reproduction
1936), in
III:.
tis.
26. Ibid, p
27. Ibid
M)
in
/'
Mil
ss
Pi
pp 287-315.
S
below, however,
tor
PUtonu concept
the
model
d an application ol a dialectical
phenomena
ol
Mums.
Morns
Robert
oi the
to the
in
which the
series ol
Morns. 'Notes
ulpture," p
Book Vll
Plato, Republic,
$2
Harvard University
8, trans
IV).
Press
159.
Morris,
question
Museum
am
especial!)
.1
work
problem.nu
ol art
nothing
is
it
who
not
is
it
to
title
for critics
.1
Guggenheim
Mori
$7
nothing mor<
as
tin
|i
nheim.
1
Art and
in
makes them
conceptual items,
material obj
human body
documents,
oi
on the
also, Pried
relation to the
Objecthood," pp
35. Tlu
than folders
Sculpture,"
oi stale
The
New Ya
s
'.
19
1.
ulpture," p
made
with Jiirgen
familiar by
rm
c<
8x10
inches (20.3
25.4 cm).
Press,
\\ J
Mitt
\\ ittgenstt in,
I!
hi
II
(<
I'
of
hii
trans <
I!
in
Morns
would require a
s .in
would probabl)
a
Plnliiuijihu.il
t.iki
us key from
remarkabk
own
series
/-
thi
right,
to
and
Inn
Wittgenstein, Philosophical
il
in
mdtbt
vi rsirj
an
'public
Mil
its
photograph.
is
In
s
till
p.ir.illi
bi tWI
oi tin
of tht
commodit)
fetish in
'
\\
Miti
Chapter
literalist
work
111
as
useful
ts is,
in
("his
II
it
111 1)
lii, 1.1I
In
'nothing to hide
they an hidinj
lasaninnei
in
my
ol
hollowness of mosi
th<
think insnlh.
said) thai
remarks on
Fried
.1
II,..
I,,,
niw isu\
>
hi 11,1
.<A (as
<
agi
might havi
inn
tii
rt
to
.'s,
is
thi
1I1,
pp
rhe 'Uncani
Minii
7M
Wollheim's
classic essay,
e VI ollhi
im
Jami
Minimal Art,
Strai l"
.isih,'
Minimal Vn
\\
\\
p||
.111,1
llli
lliusl
'
inches
own
work
in the Tractatus
59.
Giroux, 1992),
1967), Chapter
also Morris,
hope
it is
clear,
however, that
regard any
premature.
50. Morris,
p. 10.
Brillo
logical positivists.
1, for a
Sculpture
(New
York: Braziller,
"American Quartet,"
p. 96.
On
note 20 above.
51. Morris, "Robert Morris Replies to
Roger Denson,"
Pipe, trans.
Is
Not a
302.
p.
James Harkness
The word
"Deictics," in
&
Information,"
"shifter"
is
p. 56.
Roman Jakobson's
Encyclopedic
more on
56 Wittgenstein, Philosophical
57. In this context,
'the
Investigations, p.
("The Crux
ol
Minimalism,"
museum
is
is
somehow
essay,
macho
is
not a
before oi
in Individuals,
Museum
178
in
<
Expressionist
M IT
!)
In
my
to
deny that
to
draw
point.
an open
is
beginning
my
is
end, so to speak,
what follows
in
being hard
it
from
moments
at certain
deck.
It
Jean-Pierre Criqui
is
own de
his
made on
remarks
of the
these works
Morris"), redoubling as
in
works
moment when,
him
way
the
is
other spec
which
in
as transparent as
is
it
Morns
ii
the mirror
manifests
lly
explicit
aciri ularity
At
program
points
m.i n
i
.mi
Ii
it
is ,i\i
would normal 1)
onlj
I
om
Inn d
and
won
i.i
under
it*
havi
tli.u
who had
was madi
HO
b(
flu
r. tli.u
it
mi.
i\
is
most
raise
i<
in .in
bj
hi
thi
its
mi
ipli
rt
ader
omplete
In
19
gavi
hat
in
to
Mori
is
himself
1977 n movi
thi
pa siion
ti.
authot on purposi
win
tin
it
an
(for
tin
wj
oj
<
lapsed time,
and old
an
put
appropriate
In
>.
and mirrors
some
that
both
In a
theoretii
tin
signed by an artist"
1
'"
al
is
extravagant
Iv
systems" elaborated In
r\llowaj
lans
names
Sunt hson as
In-
whom,
Newman
-m^\
Smithson
lens ot
itablish
<>t
pagt thus
/ /At
bj a play ol echoes
mention
(thi
in
ij
Thi quadrants
nut.
metaphor
baroque,
in a
ts
projei
reallj
a sort ot
har:
is
in tins
drawing,
tin-
an)
way respond
tivi
system"?
I
falsitj oi
"text
,i
doul
of
th-
I.
call
The
"I" the
lift..
muted
though
It
o]
textual space in
wi
idson's Prim
more,
lower-left corner,
its
designated
my direction, thi
i
is
ti
shred
Win
).i\
1.
"in interpreting
following senteni
last
.n
1<
the right
that in th<
V
tins assi
oi
laid
/>
>/.///./ ./> ./
xtimated area
would
onus
tw
tin
rn
tli.u
'I
What is
own program tor
purpose."
as
the- artist
that tinn
turn
in
nt\
to
e of a
In this there
to ke< p in nun.
in tins text,
d b)
former)
(th<
\ i<
win n
the consequi
.is
would be well
ii
which
of the latter,
(the latter)
inscribed in
ross
'ng
m tin
r<
prim iple
ot thi
itself
parallel
sets up an analog al
lationship between the
ommentar) and the work, establishes the lormer as
/ :> \l
through which
tive,
ffei
is
divided
is
until
One might
tator.
for either
example, Morris's
portrait ot
happens
this
between making
metaphor and telling a lie is emphasized by the tact
that the same sentence can be used, with meaning
which
lie-
latter
artists experience of
in
engaged
of
the
the Blind
unchanged,
does
it
in
point
place
all
relation
them. From
the type
"false.''
however, that
u ith
and
tact,
writings,
(Drawing
begin.
In his
in
is,
the
let's
the
is
it
There
on side
tin
is
it
legitimate to
rest
Blind
Time
paper, 38
IV
50 inches (96.5
of the artist.
Time
Blind
ol Ins
IV
detail.
homogem
nstitute
rpus?
what the
Si, mi
thing that
.is
manner of the
in thi
ous
raditionall) qualify
is
framed
the
.is
"I
by virtut
identical
olum n (p 90),
'
wandering
orpse stagi
Han
Troubli witi
<l
by Alfred Hitchcock in
(1955) persists
to identifii ation
mi
in
Morris's visual
zn
sci
itsi
langu
will mil
thi
its
om
<
><i
thi
sam<
n. inn
ol
I),
in
viewer/usei
h ch
hii
(1963
no
-a,
!1),
as Hi.
l!
.i.l
li
hum
with ns
wit
Withdrawal (V)65, no
22), in
inpaj
MK
., ili.
\. n Vbrk
.l.uli' s
l-B
c (
the
As
of
proposes
1962 no
II
196
i.
inisi
verbal in 21
ol thi
itself
In
In hi\
.i
.is
kuul
.i
ol
su< h,
ol
what
banner (the
among
othi
is.
is
when
chi
its
in urn
.1
Fi/i
tautological object
ol
.inn
of Card
casi
no
n<s ol
Yori
and 21
thi
1961, no
would
way
whethei
bi
thi
11
Box with
willing to bet
hai a
thai ilmsi
in thi
thi
Sound of Its
Own
would show
iii\inini\
New
objei
th<
rforman<
in
and
Makir,
r,
p<
visual
In
C\
f
i
i
,.|
itanh
piei
which Moi
from
and
mi
lei
medium
artist
I960
.i
rationalitj
Modi
..I
ulpture,"
sign
th<
&
in
which scatters to
the
Performance Switch
direct address to a
drawing Litai
appropriated
waj
recall th<
thi
following
ill-
I960), and
up undi
It
order to sketch
In
Notes on
1966
thi
[aiming us right
we must
.1
in
used
mi
ci(
u lous
langua
//
Hearing [1972, no. 88] and Voice [1974, no. 126], where
the
From which
"writings"
it
follows that
and
we have
its
ambiguity
radical
with
by Albers or
Newman
in this area: so
itself necessarily
something
transpiring in
artistic
is
Not
stranger to Morris.
It's
for
a hard
and
fast theoretician
which corresponds
object
(its
his art
witness:
first
and
whom
Phenomenology
which
of,
but what?
"The
His ambition
as the philosopher
"making" (where,
is
among
cavity to
"forms" can
Morris reconnects
name
when
June).
is
that
we recognize
in
many
Three Extra-Visual
published
proposes
in
Artists:
Works
itself as
author
is
at length
then
tells
and
in the
most serious
(a fantastical
end
of
funi
date since, as
solstice,
What
it's
the
follows
Turrell, Blaim
yet the
<
moment
ghost
[aims m
of
to
\\
Morris
is left
to
ai ul
He
that
at first
narrow
been killed
in Process,"
as well
making process
first artist,
Phenomenology
scenes but
The
summer
of
the direct
as film
itself in
possible tone.
room
many
the
in Morris's view, as
he-
interest,
know
be found as
say, in
will
which places
of
artists
are devoted to
sculptures.
who
in
Nauman
henceforth be
"The Minimal
1,
will
it
participates in the
shift
defined as
last
who
faithfully as possible
writings constitute
writes. "
loot
manner that,
downstream (from,
is,
what he
to the respite
that
in
fall
deco with
the
to <trt
is
of
so obviously
it
or
portable,
Sculpture" to
on the
Fordprobably
of a certain
"Some Notes
from "Notes on
Making: The Search
Phenomenology
published
Motivated"
Artforum
and 1970
static,
From which
writing
suggests that
what seems to
the sense of commentary
of theory building.
registration of
much
won
thi
different eye
.i
and elegantly
to look at his
without signaling
ms
most numerous.
far the
tet
to Blaine,
demands
who
at this
art.'"
fiercely
<
Th< summing up
no photographs be made
The
five of
of
them.
point
still
who
on the
Making already
of
medium
of Conceptual art"
for he,
we
himself absolutely an
artist
"The Art
constituted by
is
in
which
of
more or
certain
theoretical
whom we
to
composite characters,
who
Robert Dayton,
are
compliant
One
eloquent of
Orgone Box
Reich's
me
for
MbMA,
.Strew the
memorable phrase
in the
ompanimi
drawing
ol the
a skit' h
and
also
finally, a
drawing by Dayton
shown
ol
photograph
in a
uments seeming to
hand)
A'
the
havi
equipment
<e.u
com
ctivt
19
in
h<
ek
'
J,
ol
then
bits
century
A./
changt .iinl
opt ning
as
itselt
thii u ori
((
that functions on
oj //-/I
plam
tpecially that of
In
a new
oj
level.
multiple
on
a sea of
Ebb
the
in
of tierasa
its
could also
self
words
It
bt
thus
is
an intensely
Tide,
text,
own
ob|ei
and thi
which
to
me
n
family n
u in
/;/
establishment
It is thi
thi possible
perceive*
teems
tamem
\/i
rnal
tin
r<
Art's vagui
oj
shattering
in
"/
,i
claim
maintenance
tequena
./> ./
.it
mblanci
tin niJirnlti.il
holding in suspension
ts:
last half-
mint. mi
and rationalizi
in
./
mythical status n
tlm contradiction,
i/</<
But
urious
first
prodm
tions in tin
inula
bit
tet
/>/
\ponsi to
what
thosi
with
thi
language?
art
fai
t<
m m to contain thi
dualpou
<
yond
its satirii al
1
hi
harai
ti
itatus ol thi
thrown
Ii
in. iii
li
.11
1.
'.hi M
inn ol
Mill
In
r,
whit h
bnaks with
Morris texts
yond
bt
rs ol
thi
arth an
barbs
01
the
Somt
to
hi
in
t;
is
man
ol tins
Splashes
disjunctions whili
maxim
takes
./\/"//i
\'.
ol thi
self.
articles conclusion
dryly obji
historj ol at least
metaphoric, rhetorical
is
an
Some
that
whi< h
these graphic
of
tin
Ii
in
oming emblem
But the
"Works
of
ol
Gospel
rather bet
Morns;
bj
not
himself
in the
Blaine, a
hamber," pan
documentary
foj
much
Morris exploits
is
and,
ib;
Ins "ga
three reviews:
for Ins
homonym
of tailing
In
leav<
one perfect
at
"No
you can do
names; Scul.
last
described
is
life
authors, certain of
of Dayton's
it is
Von Stroheim
peculiarly
is
many
invented
at
heteronyms.
of aliases, or
and inspired
group
least in part, a
lost
is
"The Art of
we should say, are not only)
bj means of which the author
their appearance in
less
making
artists
neither
of
frequency
of radio
be more
to
is.
it
Gallery
scientific research
most
German),
projects
).
of Existence"
./>
much
as
'
liy,lit
reflects
Ft
8/7/62, 8:45 pm
blank cards, 6
(See Loses)
over its
A card from Card
File,
1962
(no. 26).
making,
of
its
saw
in
it
kingdom of the
reality."
false
The
intermittently resurgent.
discourse of sophistry
the
latter's
for the
part of
connected to play,
it is
in
profoundly sophistic
artist,
an oxymoron
"fiction," in
He
which there
is
is
zfictor, as in the
sculpture), pretense,
and
word
(as in
"I"
here
is
"art
within
its
is
on an
understood
on Minimalism." So much
and
for the
for
America
art by
comprehension of future
in 1981,
it
debate
scholars.
Art
in
in
American contemporary
in
Morris's text
is
editorial "we"
followed by
five
"Commentary,"
presumes
long paragraphs
in
in
winch an
to dissociate itself
from the
foregoing analysis:
meaning
"Make
themselves
italics, entitled
novelistic invention.
an aesthetic of the
symptom
an etymological
typical
As
make him
reversals
sword-
in art or in
is
2 ''
it
and appearance.
"The
Claim
them
into motion:
development
in retrospect.
We always
Wt cannot
havt tended
let this
to
it
mu
wander around
wmt
extremely
etc.
85
Some time
later, a letter to
Robert Morris,
I .
n:
Doing Blind Tr
Commentary.
.t:.m 19,
Davidson's test.
ised version of
an
although most
drawings (Allencown. Pa
appears in the
fine Duchampian
hand behind the unsigned Commentary. And
iris,
1976
4.
that
.'
initial double
Mori
ert
.:
sai
is
it u
ot Art.
Robert Mori
Jonathan Fineberg,
Sepi
in recent years is
(oil.
unpaginated
)SJi.
Williams
(Williamstown, Mass
Museum
An
Back
pp 11415
'80),
it
Interview,'
end
note ai the
took place
1977 Ivkti
in
an audieni
"Three Folds
in
Its
epigraph places
who
This occurs
6.
in a
commandment,
made of Da'
on Ins past.
linarli.nl. ;:.
to distinguish
ol aesthetic
footnoti
discourse
articulated;
its
\\
rii mil'
it
arlimlati
ith
much
h< lias
under the
it
get tree
oi
a part of
"It's a
proposal
in
kind
It
as
beginnings as an
and
artist,
of
in
Kansas
Ins
icy,
makes the
flag
those
"art stones'
of art
take shape.
that
we end up
in
ol
open
>
and then
to inn rpretation,
commentary
writes
II
numbi
at
whi< h
["h<
art
telling than
kings
follow ing
ol
ot
borrowed
ol voices
murder
as rlu
Duchamp, Newman, Ad
-apologues without
"m
ol
that
meditation
a tro|x
is
as assertions."
it
Davidson," p
a fed
him
rilual
nn
,.i
rpiisi
Artists as \\ riters,
Inside Information
Notes on
Arboi
Mil h
Ml
oi;
l
Dana
Mi,l
/>
art
and evil?
>od
It
can
and does
with
<ilI
manner
oj
tht
it
wcial extn mi
investigation
i.
oj
[Ti\
...
flourish in tht
n amoral it can
It is
an
extremt
Mi.
Notes on Sculpt
entt rprist
n printed
\rt
\.
no 6
m Sculptun
Noti
;;/..;/
Ami
i
|
and ust
ontain
ontrary
most
it
finds
ithout
and
has alu
it
and im
vitably
uches the
>
\,,n
..
ili
aim tit
Form
pp
onthi
hi
its
<//>,/(//)
modernism
constantly
onci
it
became a
I
ilt /i t
mil
i/r
nl
am
ii
from
mi ihi
pan
in thi
ipai
li
iln
vi i\
Noti
thai
on
&
|
win.
li
ii
ul|
vii
ili>
its
si
mon
hi
Mans,
Fact thai
It
.a
\rt
little dij
in
i
fai
thi
hi
tlity
///i
ith littlt
Motivated
to relj
196
B [April I9i
is
in
momeni
whi
I
ii
In.
li
he had lead
a/way propaganda
i
Iranslati d
HI,
from
chi
Pr< n<
h by Rosalind
Km
...I.
l\
idi
nniii
.1
III
10.
of
Making,"
p. 66.
12. Morris,
Works
Artists:
in
lineage of Strauss,
13. Ibid.
L'Eiuperetir Julien
is
by
raised
in
main problems
reflect
on the
the
is
in the
is
t!
Fourbis, 1990).
it
is
accompanied by
Age
One
French by M. Blanc-Sanchez
De
as
in disguise has
what
"But
my work
17. Ibid.
wrote
Moms,
should be pardoned
for
meant that
at the outset
because to write
had
to
much
19. Ibid.
30.
p. 63-
personae,
(trans. J. -B.
(November 1989),
31.
"No
art
of
be amputated."
20. Ibid.
21. Morris,
of the
publish
p. 30.
is
a large
work
16.
often urgent
at
such minute detail actually existed. In the same line of thinking, one
might
its
is
Writing (London: Free Press, 1952). Less known, but in the direct
15. It
work
LI. Ibid.
p. 148.
comes without
prescriptive text
its stories.
which imposes
rules
An
art story
by which
its
is
once a
at
participants learn to
in
my
hysterical tendencies.
found
in
my
Mark
23.
heteronyms
The mental
is
located in
origin of
my
my
profoundly
heteronyms
to be
is
and dissimulation"
on
5,
story
is a
individually produced
(p. 145).
who would
Combat
handmade
on Art
as /and
more
or less
Land Reclamation,"
October, no.
12
"Some Splashes
24. Morris,
in the
no.
On
the
first
Rome
of second-century
and played a
role in the
contiguous development of ekpbrasis and the novel), see the two volumes
of anthologies
and Le
Positions
Minuit, 1986).
its
false, first
and foremosr
in the
work
Mark
Lester
L Anti-nature
(Paris:
PUF,
Not
artificial
Davidson" (pp. 622-23), from the seminars of Jacques Lacan, one of the
great contemporary sophists: "I
make
a distinction
between language
word"
(Encore,
Seminar
XX
[Paris:
mean
Le Seuil, 1975]
p. 107).
26.
1981),
p.
1647.
in
104.
29- See the letter, signed "Donald Hoffmann," in Art in America 70,
no. 2 (February 1982), p. 5.
There
is
Anthony Grafton,
Forgers
and Critics:
Creativity
and Duplicity
in Western
JEAN-PIER
!<
'
87
CATALOGUE
COLUMNS,
nning
in 1954,
1961
own
the hollow
what we
pioneering work
San Francisco
in
Halprin repressed.'
felt
use
games
to structure
tor
own development
Morris's
of
New
Morris visited
York City
the spring
in
column during
occupied
ot his
unbuffered
of
Morris
Beam
/.
1965, nos. 2-
time, drew
Forti's
own body
as if "on poini
of
>,
its
of one's
this
first
1961
all of
ot his
no.
in
>
allude to the
hit h
emphasis on
lust as
space
developing
and the
the anti-
the years
in
made
Columns
In
marked
that
<>!
Minimalism:
These
a result
in
The anthropomorphism
objects that Morris
(it
the piece.
ot
tall
part
it
of its
and sculptor.
as both dancer
move
to
in tact,
of voice narrative
rule
order to
in
Forti's
seem
"explore
the dancer's
of
Forti, a
surrogate
submit
Morns
Dana Theaters
mark
task-oriented
withm
evoh ing
Morris's
st
ulpture, with
body-
its
related stale
The
view
ot
result
and
abulary ot the
of a vo<
ation of
tint
movement,"
task- or play-driven
most
tor
of
and
as
\oi< e as text
movement
<
sound
at
games with
contact, improvisation,
rheatei
dam
in
Jan,
issisik
and
importanct
Voko
.n
It
ol
In
ot
hambers
first
ing
i\
In ati
in
In.
h cimi
and
ii
hall
11
foi
toppli
hi
maim
'
l<
concentrated into
[j
<
and
it
'I
prom
'I
the
chre<
p<
.1
["hen
minuti
s,
afti
sn ing from
vo po itions
chei
st
F01
painted
graj
no rol
with
foi
a
a hall
b)
as
1
11
mptj
BO
ralizi
tin"
It")
'I
tin
waj
leu tin
tni
in his influential
is
an autonomous
ol
ondut
it
ol
anj given
landscape as
ol
ot
[ere
the
it
apit ulatc.l
ol a single
must be grasped,
logie
wishing to
b\ ,nn artist
Tins notion ot
form-class furthei
in Ins
lunti
1-,
role foi
<
In
logii
ofTsti
chi
olumn
anding am
historn.il context.
Mm
l\
liti
ot
'.<
ing
l
down
George Kubler
develop
Ni Vbrk
olumn
the non 01
ol
and even
ulptural obji
in
finally, bj
1961
in
lofi
si
Not
stud)
these chinj
then adapted as
whi< h h<
ili.
stood erect
ol tin ks
<\\\
Street
it
bag
entitled Column,
ih'
time
ai
ol
)nos
was
aimed
real
rules,
to
till
ochi rwist
rstood as
iust
ii"
num. two
1243.8
1961
61
b\
ml
tinted
leheran
plywood.
n of a
units,
1961
each 96
Museum
ot
original
24
24
1973
in
Contemporary am,
<i
problem and
its
and that
tin-
solutions constitutes
altered repetition ol
system
thesam<
ol l<>rm-i lasses
formal sequent es
Brant usi
work, espe<
It
ially
tin
<>t
the
(Iteration ol tht
nomii
al
means
"l
is
by
th<
Ktn melj
While
for
ntitled
planm
probli in
.it
n various positions
I
(hi
on
hand, thai
>>tn
its sidi
id in
IV!
tr.ut
repositioning
lying
own
same
muni
would
.1
seated
inv<
rr<
>l
upright,
\
February 19
M.iss
th< artist,
om
and ont
.v
Decembei
thesis,
lust
WorkofConsrantin Brancusi,
Hunt.
p.
Mon
Kul
ideas
196
Press,
Classes in thi
unpublished master
work,
vhen
form
a prii
artist,
/'
Press
ovoid
ol the
Kr.iu-.s.
Communication from
This
for
Ins analysis
in
Rosalind
Ml
t<>
ts.
slight alteration
lass.
overall
and development by
development
form-<
The
tr.ut
.1
metaphoi
ol
Kubler comi
rousl)
own
1965
original. Painted
24 inches (243.8
3. Untitled
plywood, two
243.8
units,
each 96
(243.8 x 243.8
plywood, three
x
96
of
61 cm).
original. Painted
units,
each 96
of a
96
1965
24 inches
61 cm).
PASSAGEWAY,
196
of a
the performing
Henry
Simone lord, a
performance byjackson MacLow, and a work by Young
lectures by
Flynt, a concert by
An
Environment"
Chambers
3- 7
to be
common
orridor that
urved
passageways
feet thai
but
ly
guests found
of the
The
dan. er
pent
one
ross
BOB MORRIS"
Indeed, the work's interior was
the walls.
of
besmirched with
depanun Imiu
substantia
th<
as
Pop
art
common
Two years
Roy
ol
"New
were given
later, in
haos
'
>
ause.
fabric ol
end of ai h day
While the extreme simplicity of Passageway
demonstrates
known
Realism" (now
Rose
Art.
neo-Dada,
and
Irom
il
of
as pleasurably
it
such formally
In this way,
Happenings
a reverse
of (age-,
artistic practice.
American Dream."
th<
contemporary
in
ommonplace
tailed
comprised
Some
it
kind
own
in
it
expectations
It
its
to artit ulate
narrowing slow
feet,
for fifty
They quickly
steadily to a point.
plywood-lined
sculptural
several hours
loft,
is
open
1961.
in all
it
environment
artist
which was
No
Fluxus
at the
Street,
deployment
Pop's figurative
literal, cool,
unexaggeratc d
.i\\>.\
of
New York
by
1959,
ine\ itably
it
Yet Morris
and
upon an
hanged the
well as to draw
episodic,
their desire
rei alls
Morris
inipulati
had
CX(
..
re< ills
thai
><
lapjx nings
ini ludi
hi
was
th< onlj
linn
si
>in<
petson
."
Kaprow
.an ndance
Bail
I.
us
60),
narrative
its
times
.a
!fl
Red
//...'
lldenb
\rt
IntmuUmul,
I.
.mm
sionism
Of IMi|
work
ing the
si.
ai
spatial
would
audi,
ni
b.
twi
work prod
l
\.
>l'
in. al
in:'
th(
.,'.
in
Alll An.
e p.
is
L961
.
i,
ai
.
in.
ly
no
lai
thi
Now
<u\
Gregorj Battcock
I960
n
lat<
ulptun
...U
90)
ch<
body advancing
li
li
nih.it Anthology, ed
ould
veci
l<
Morris
i
When
body's position to
thi
ich ol Mori
94
Roai
In ilns sense,
'
..i
had reduced
r<
b<
<
nvelopi that
dill.
p. .up
was
us
"t
and
that of entry
gesture
into
'
mold
/',
om
mi mb<
.him d bj eai h
madi
ontrai tion
oncentrating on
'
foi a radii al
.!
no
in
s,
9), or
Passageway 1961
(2.44
Painted plywood, 8 x
50
ing inside
feel
Passageway.
photograph taken
Church
in Morris's
Street studio in
Made
pine box
measurements, the
to his precise
like a coffin.
little;
from the
to derive
artist's
n and the
HO.
Passageway,
it
Column (I960,
earlier
early
being constructed
Europe between
in
Like
p. 90).
the
ties to
to the bridge
Surrealism
late
made
Banquet,
tor
of Surrealism, to
had played
a central role in
American
.i\^\
artists.
'ntitled
Passageway
concentrates
1961
no. 6)
impact
its
had
as
in a single
movement
it\
moves B
that
is
It
to gra\
waj
from a sculpture
in
.11
and
5),
litmus ol represr11t.1tmn.il
within
Rejecting
proji
still
ulpture,
si
within Modern
protoi ol
thi
nted subji
51
sculpture and
and
is
ledge fn
mi
s.
th<
v< rj
made
shows the
1.
mill d
.1
ore
to the
at
to ch<
experience
its
ironmi
thi
ii
d in plaj
artist
is
with the
ulpture,
s<
si
diameter, joined
take
p. mi ol
measure
in turn, to
photographs,
no
In th<
mi
medium According
offers us
shown,
l.iinu
s.
ol th<
c,t
pi'
r<
ulpture had
si
conception
Morris's
nt< rs bj
.1
mi
tal
bat
si
veral
feet
h>
artist, shifting
it
urling
11
"i w<
nds on
11
eai
Ii
whei
Morris
di
M,
thi
arms
bar,
monstrati
.1
.1
foot
di
on
in
Box
for Standing.
6. Untitled
high.
Fir,
74
25
fir
the Volunteer
II
iron,
PORTALS
196
In the history of
or
of the proper
sculpture, on
relies, dissolves, a
among them.
it is
to experience
It
which
in
which much of
like
rest
doorways,
it
on which they
floor
sit
portal
arranging, which
prominence
to
in the late
life
(that
is,
so that, as
work
is
Two
frames
lintel structures.
1961
the
same time
tombstones
as his
1961
<
ly-painted work, w
something
columns
made
issues
no
on
viewi
upon
to
in
mirrored lining
ith
sense
ol di
;ed
posn
/'.
1961
nsivi
'Ipll S
with
hiti
100
space,
to make-
using simple-
terms
ot explicitly
straightforward procedures.
a priori
Clement Greenberg,
Recentness of Sculpture,"
at
Must
um
ol
Art,
in
"
;
artist.
February
Ibid
more
coming
no,
added
n hi
/
In thai
10).
'n titled
bod)
work,
vis a \is
(Pint
It
s<
is
the
to
as a
tnding
as< orollai
it
the
ity in
1961
no
6),
and
the
loubly as architectural
it
to thi
bj virtui of its
spa,
movi
ol ch(
t
or
si
body,
how
fundamentally
nsi
ol
mi caphoi and
12 inches (243.8
121.9
30.5 cm).
48
Jpiun
ount]
sp
ler thi
an
wh<
portal in
own
environment,
reflexh
ring ol ch<
to pass
oi traci
directly, in us
suggested bj
year,
wooden
trom Morris's
cangular
re(
like that
oi sell
same
the
nti
though
as
kind
issue
to the
Wtrro\
And
\)
passage involvi
frame
between
viewer; spatial
lr(196l,
,-,
works
'
'1
its
connected to mai
indi
stable relationship
vithin
no. 8),
no. 9),
h looked
an h on two
like a straight
and going
hi<
iewing as
was then
this portal
that sculpture's
example, no. 5)
(for
one. Another
literally.
for
is
tools
today
is
simply
something
used in Egyptian
it
nonart). Privileging
of bricks
ot this
a portal;
the practice of
ties
matrices of everyday
is likt
consequence
*j
f^B
"*
<
1
i
i
48
12 inches (243.8
121.9
1961
original.
30.5 cm)
1978
refabrication of
PORTALS 103
One of Morris's
undoflti Ou
understood
terms of the
in
Duchamp.
Marcel
to
Making
'.
1961
no.
artist's
11
Box with
Making
can be
become
s
self-apprenticeship
is
a large
me
body
of
what would
process-saturated work.
Minimalism
writing on
':<
Morris's
a
(,
work
it
art
making
of
simply
Sound
Making
is
meant
CWU962,
1963, no.
Framt
no. 12).
Japanese artists to
oi several
in
plasm
is
it
ma
the
of rc<
ri
I"
no.
of as a
he began
own
ol
early
an
physii
that
al
ami
prop
would
81
ha)
formi
between
In hi
Ins
isa)
foi
work remains
li
roll
in.
li
in\ol\i
the
i
.hap.
fl
Museum
profound
thi
and
ih<
fori
rties of materials
givi
nth to
irj
to his process-oriented
Ij
Metal
to signal foi
Form,
10 4
ai
thinking of thi
i
il
ii
exhibition cataloj
1968,
hi
making
Marcia Tucker, R
undo/
io|x
//>
works to
Ou
of Art,
.>r
to Minimalist!
produc tion
of
,s
lapse of OUtsidl
in favot ol thi
Ann Form
il
name
it.
ol
oi Blii
work ha
lam
the
its
(In-
246
1973 (pp
'|
would lend
An
sawing,
in
'
Battcock (New
extreme
its
later,
Battcock, p|
rience of he objei
or inst ription
A Critical Ami
theessaj that,
pp
example
tor
ordmg
produced during
iflated in
This kind
hand< raited
sounds
oi all tin
In
Minimal Art:
Art.
Dutton, 1968), pp
5.
the obj<
c of
of this
in
"A B
is
box
o.
Barbara Rose,
Thus,
arts.
Making was
geometrical simplicity
Wollheim, "Minimal
Modernist
thi
Ann
in
Sound of Its Oi
the
Morris,
in
whom
Ou
exhibited at the
first
/.'
7),
Sound oj
art
In this context
objects.
its
readymade
bj signing
ol
im hes (12.8 x
13
l'U6
11.4 cm)
Philadi
N ..rk
11.
of Its
Own Making,
1961. Walnut
9%
Gift of
/4
inches (24.8
24.8
Art
'
Museum,
ITS
103
EARLY MINIMALISM
When
in spring 1963,
standing open
"a
interesting,"
The
"potentially
much
attcr all,
'isn't,
why
works
effect of the
to
one
language games
put
in the
view,'
seriously,
the most
to
"It sets a
lowest
common
to argue,
claim to be
seemed
it
that
[art] is
the
off
and
monumi
sculptural and
public nature
and "the
In the
(1962,
winter
"<
something
into
on
flat
1963 64,
of
<
onfronted with
'ntitled
Nova So
'imposition out
of
ol a
I.
.1
Mi
mi idle
"loi
as
n u. n\ forms,
i
ing thai
hind
oi broki
In
pun
shapi
on
.'
196
itali
oi
togi thi
down
ti
work.
or
into
si
.1
Ins
p. 1
irts
Me
3,
Barbara Ros<
thai
In
6 (March 1964), n
'
printed
in
..././/:.././,
on
&
(New York:
wa)
ban
no. 5 (Februarj
\'
(>..ll. ries,
ill.
"A
ulptun
Fi
>;//..;/
'
Amk
.1
bruan,
Gregorj Battcock
K.'m
I*
\"
<
m.
..ii
li
'I
s.
ulptun
Octobei
Pai
k, pp.
2 28
is
d. illuminated.
called results,
an'i
l><
rgj
analyzed
to
parts
onm
no.
17
gnitiveem
parati
(Halifax
Bui in reducing
ies
what he
in a w.c\
'
s,
provi
cl
form
i.
proper)
ol
...\
exl. ndl d,
I
t ..ill. rii
din M
to bring into
impossible thing
them
the
ol
[aitford
printi ! in
isually, hut
singularly unitarj
Minimalist work
logical!)
given t0 us as
"In ch<
ih.
short, as
and
but one
meaning." determined by
"public
ol Ins earl)
rh.
is
lis
pieces an minimal
exist- in
object
huU J nit,
ant he read
is
n\e
In.
ii
ambition
it-,
ot
|udd,
12),
that
an experienci
pi op.
The
Donald Judd,
reprinted in
replaced by
is
ot space, light,
in
an idea
much
by so
iwerful spatiall)
to
composition
function
arc- "a
and the
exist
feet,
this position
the work
ol
which they
in
Judd was
Space
terms
of the
to lorge
pie< es
1962, no.
ot
literal
relationships that
ud)
addressed
other three
is
ulpture,"
expanse
its
it.
one
supported a lew
floor:
Si
"only
'ntitled (S
inches
of the
making
stop
kinesthetic
it is
to
of
simply by being
itselt as art
or his or
Hat, unevaluating
made
as having
of the
in this text,
where he makes
nothing to tak
is
Indeed
).
first
in place
conception
)^ s
ot
one of the
is
to look at."
ol
cted this
how
Untitled (Cloud)
"3
to
idi a
..i
182.9
I'M..'
Painted plywood,
182 9 cm).
.,
poini i"
ch(
(30.5
243 8
243.8 cm).
96
96
Ini
hes
14
Untitled (Frame)
vood.
1962
I
OH
<
30.5 cm).
15. Barrier,
(200.7
228.6
90
12 inches
30.5 cm).
16
72
96
243 8
lio
Translucent fiberglass,
47 cm). Solomon R
Collection.
96
Translucent fiberglass
96 inches (45.7
244
244 cm).
Duchamp in the
Morns encountered the art
means or Robert Motherwell's book
early 1960s by
Duchamp
Robert Lebel's
program
development
own
of Morris's
modes
closely
of production.
1969 exhibition
Corcoran Gallery
at the
of
Art in
body of
his
Duchamp's
work with
practice:
six
transparency, translucency,
found object
";
and
a red
green
two circular
of
them
on one side
a square of glass,
is
painted a
of
which Morris
re<!
.-retire
serii
a reference to
ions, the
the original
sit'
Marcel
VI
Bottle Rack,
ni
the
it
acstlu
Kathenne
S. Dreiet
ol
commodity and
status of art as
(272 5
initiated with
m, both the
1915-23
Even
straining, as he
limits on
l.u
ith
tore.
prior
<
Due lumps
//,
'
Hut
through
Dm h.imp
wIik h
tlso
it
as retinal obsessivem
ii.
the
of
ol
J notions
ontingem
thinkii
ol
ol
'
ompositioi
model
lu<
tion
fot
and
onsumption,
Morris
ai a
jun
)'i'
und and
n
il
ts
lump
through
lived tim
varii
<
18),
movement
Ii
/(no
it
\A),
and
Fountain
obje<
datin
ol
al oi
ts. all
relations of th<
valuable
and
citive
(no
n as th<
only did
Modernisn
l>r
it
23), in
Ivl'i
know
desire
r/ir is
>
h\ virtue of
its title
openly hails
l>u<
den armatun
al
pump
noisily
lumps nun
ol
Fountain
<
ri
inside
ulates wat<
sensibility, th<
nonrelational
and permutation
Morn
in
<
1917), a
sigm
d,
to th< Society
New
York
work
Bui
beyond
The
dialogical relation
Hans
in
gold-painted urinal
(as
Duchamp
is
pump
the urinal.
The
suspended a bucket,
is
forcing water
up
into the
bowl of
readymade
as
humorous
critique of structural-systems
is
held forever in
The deadpan
EW
[1951],
and
as well: lead
with dollar
45
14 inches (114.3
Gallery,
New
137.2
York.
bills
and
54
Weber
silver (nos. 41
of which
is
a lead-
(for
the
Duchamp
lid
The work,
text.
Gallery in Morris's
no. 63)
momentum
from linguistic
Duchamp's notes
notes,
for the
a bachelor machine,
symbolic circuit as
LIFE,"
Duchamp remarked
was
it
to glide
"slow
"ROUND
late in
paying
first
for the
follow another
is
New York,
When Johnson was
solo exhibition in
Duchampian
of Esthetic
it
Duchamp-inspired
shift
toward authorship
The right-hand
snl< of
Statement
being claimed.
emblematically on
its
front.
</f
Esthetit
in
.
to yield a
shadow\ present
The
<
embossed
left-hand
snl<
oi Esthetit
absem
work
Withdrawal
entitled
Woney
14-
inches (91
Frankfurt
am
32
37 cm). Museum
fur
'
12
5/
19.
x
Pharmacy, 1962.
36 inches (45.7
29.2
Painted
x
wood and
mirrors,
18x11
of the artist
Moderne Kunst,
Main,
15
Matt
an exhibition
rials,
James Monte
Art in
show,
New
it
Whitney Museum
at the
\ork. Like
many
American
of
The
in
the
piece initially
bank check.
documents
sum,
invest a small
prices
profit.
it
to
by the museum,
to be provided
It
which was
around
in
at inflated
museum's
tor the
was limited
to
Morris's strategy of
making
from the
art
Duchamp's
to
system
tor investing in a
to
win
at
roulette at the
Check (1919),
payment
tor a
dental
bill.
Money also
under the
tails
legality
ol
in art
as discussed by Buchloh.
Wittenbom,
imp, trans
2.
Dtii/ti
''
I
rris
An
..'lit
rially
umption
product
ilogui
thai
we
\\
ashington,
timl in the
in m.c:
produ
M
Ill) Bui
hloh,
'
oncepcual
An
rsion ol thi
iii,
Press,
Aesthei
ii
ol
An An:
L
ird
Am
8 x
/4
inches (25.4
20.3
in
synthetic polymer, 10 x
artist.
117
21
Litanip-.
.-ad
ROBBR1
Ml '
ol
Modern
Art,
New
18
mounted
(44.8
New
in
60.4 cm)
overall.
''-
The Museum
>
of
23
inches
Modern
Art,
119
23 Proposal
to
ao k
New
York.
4UM
IN
UNM
**
HIM1 MURIUM
Of
AMtlAU Mf
^r
~*~
96 inches (91.4
New
Castelli Gallery,
York.
I-BOX
1962
Green Gallery
In 1963 at the
New
in
among them
objects,
York, Morris
made small
own
(EEG) (1963, no
fluids; Self-Portrait
sculptural
bodily
work
14), a
no. 25).
perhaps because
most
many
itself to
It
was the
lasc.
unassuming
of its impressively
critical attention.
registers of interpretation,
Offering
is
it
an
object
to
an unexpected complexity
shape
in the
the "I" of
the letter
of
maker,
its
chalky pink
of a
/,
door opens
tor this
to reveal a
posed
self,
in front of a wall,
standing
and a
However
partial erection.
on
works
marked by
Indelibly
the exhibition.
in
selt-consuous disavowal
moment
ressionism, the
prodm nl was
in large part
in
of
<
onni
th(
to be
of
ital
isii.i
being
disinterestedness, whi<
cii
promoted
In abstrai tion
brushwork and
new banality
Modernist aesthetit
of
immcdi.K
it
tion to the
onflueni e of
those
through which
direi
ontinuation
of
li
to
\.
obtain
was understood
By slutting the
onograph) toward
maps
DOdj as
work
of interest, Ins
momeni
formalisi
century an
in ch<
reception of twentieth-
1955),
of
ii
and voyeurism,
disino
i.
of
1 1
r 1
to "|
<
w.e.
a a
t"i
<
i.i.
ii
iln
tin
arrangl
wing
v'u
ironj
rati
V\ hi n
\i.n\
in
lh>
it
a site
reft
rring to peepholes
ment
jusi as
ii
(lies in tin
demonstrated
i'
"Ii
fori
ol
/-Bw was
desigm d
baj
at
'I
th<
I
dn am
in
la
la.
d an alena
.
also
xpn ssionism
pressionists thi
in
undi rstood as
ln<
Ii
thi
Co
siti
.<
anvas
.\iu\
of thi
Is
iiiit.iiimi>x
photograph,
19x12
(]
inches
BOX
23
trivializes
making
terms
in
self
mechanical
ot a
experiencing an
an intentional
.is
encoded
we might argue
today,
both hidden
is
manner
in a
moment
contusion
momentary
of recognition as well as a
unveiled, undone,
is
made comical.
Such a reading would imply that
this
same
"I"
first
movement
a variation
is
of ellipsis,
111.8
44
Encaustic
reference
the
lere.
is
inches
unaverted
>:a/c- ot
pleasure
own Thus
ot
at
and
split
is
is
once Morris's
"I," at
nari issistn
is.
the (abjecting)
viewing and,
ot
at
on
relics
it,
the
fere,
I -Box
operates as
double capture
emerges as
Ik
Strui
ure
it
ided and
reference
te>
through
eil
tine
subject's constitution
tin-
utterani
the-
e>t
el
sell
the-
dh
omplex and
i
insofar as
a
between sculpture
in the interstices
am
dividing pleasure,
in this
same image
the
ol
signifit
<
te>
<>t
che
combines
le
eit
and
signal
hand, and
unified
to the phallus,
notions
the-
oneness
e>t
..!..,
!
1
list
uuion
IK,
ma
1
1. .|il
in
(Minneapolii
publish) d in French as
di
It
1]
inn
h,
<
\thloni
Pn
is
[ugh
md
1986) p
Barbara
162 original!)
(Pari
Edii
/
I
HON 185
CARD
The
FILE, 1962
game
systematized senselessness.
It is
make
movement and
self-conscious, the
An example
no. 26), a
is
process of
wall-mounted, vertical
flat file
work
is
it.
that,
in explicating the
composition, to the
work
final art
itself,
comments
shown
first
in
Dwan
Gallery in
New
New
York,
show
at the
mapped by
one moves,
ironically,
the
or so
it
seems
work assumes
that this
in
The
;s
forty-four
tal
"<
>,"
among diem
the
in
ards, gathered
<
"At
onsiderations and
its
lii
the
lit
<i\<
red
them,
at
2<i
of
es thai
that
[sic],
New
thi
York
made
Ad
and so on
to anj
thi
umstani
Daniels Stationary
ihs<
notion
ol
at ive
typed remarks
oi
in
Library,
under
is
one
the disguise
bear an assortment
figured
until
isions,"
Mi
file
headings
is
a fragmentary, non-narrative,
various subjei
intent ions
am
at
spontaneity,
ol thi
nous
ol
an work
he
art ist
cards)
fort) lour
.is
the
5.1
index cards, 27
Pompidou,
Paris.
tile
10'
d'Art
1962
(lull
view and
six
CARD F
12 7
7/17/82, 5i30 pa
That
ever.)
7/1 o/ 62, 2
MS
thing
r el
eutlofar
'i
.>n
pa
ni
Talked with
bU
until Qi30 by
Neaee)
latermptleni
(See
- -_~ u
uu
LI
7/14/62, 7:80 pn
losses
-'
'
LJ LI
111
LJ
'
7/12 - 14/62
Lost small packuge of cards.
(See Losses).
H/- 7 / C2
6:35 P"
"Stationery" misspelled.
T'ie
(See Names).
;>m
"Completion".
Mistakes
un
-'[Jill]
Accideu.s:
Cards:
IS
u n
Recoveries:
Stores
t/
\\J
,.
Trips: 5
Decisions: 12
Working Periods:
Deleted Ea tries: 5
(iieo
Decisions -
Interruptions:
losses:
ri
Purchases
U/62)
Changes:
Delays:
Owners:
(at 1-/
Categories:
Dates:
'
})
Mistakes:
Things Numbered: II
Vunbrr
17
CABINETS, 1963
In their
both Untitled
Kt
(Le.r.
Hook)
inferiority,
Duchamp
Marcel
in
museum
no.
11
Grey
Paint, Robert
Moms,
The term
ich literally
means put
two mutually
structun
into the
reflecting mirrors
art stored
themselves
The
1916),
HamUt
is
an esample
Sound of Its Ou n
the
may
cabinets, "The
cannot follow
ON HOOK
is
of
embossed on
tive
INSIDE CABIN1
its
But one
it,
made
addition to the
in
it
tine
is
motion.
sets in
it
made
inet,
nor on the
to reveal a se<
a
present
101
and
it
is
it
the
first
,ui
smaller
icai
rai
in si/e
simili
to serve as
.1
oi th<
than
to frami
ii
ly is
the mi'
ior
ol reduplii
inet
abinn
representation maj
even apture
image
the infinite
the
th.it
is
it
its
allowing
en affixed
In
se<
abinet's interior
ibinet,
perhaps, the
gray, plays
photograj
1
that
is
the object.
ot
wood painted
sealed
photograph
or,
oi
on the mystery
bj
possibility chat
referent
its
In
'
inches (38.1
the artist.
us tonn.it, Photo
/
/.
ii
a photograph 11
in ih.it
ISO
.1
11
1:
in a specifically post-Abstract
moment. As
1,
\...
Duchamp's
of
and Information.
Waking ( 1961
"An
\
refers to j
Box
lXnid Antin,
hit
h similarlj
if
il
on tains within
11
it
J
ol its
facing page: 28
Untitled (Leave
Key on Hook)
(33
19.1
1963.
nches
of
:\
which what
in
If
self-reference
is
support
Modernism,
mocking
work represents"
own medium
its
it
machine
Duchamp's conception
thereby parodying
it
of autoreferentialiry,
enclosure.
self-
work seems
Ban
known
also
Suspended,
from
IL
by
Bachelors,
191523
in
its
Wired
armature.
ot the
a<
though
it
is
And
partner."
tivity oi its
mordant expression
Duchamp,
li
fashioned
lost
red
irtiStil
1.
in
.m arrangi
*l
on n
<
had
wen
;<
bronzi trompi
hrough
lati
["hi
thi
early
cangular slabs,
recently
Jaspi
double
layen
~\
<
n twisti
anting
to
round duality
tl
a} representation.
and
What was previously
ackgroum
I.
"../Hon
which
in
self-reference
which
,1
pictorial
as the
ly,
autoretereiiti.il,
bound
object, for
flat
middle
into the
ot
tlat.
to indicate
an actual
ot tin
-us 1h.1t
alphabet
pi(
mn
In tins
>.<
with an ironii
in ady
would
ms
s\sn
[ohns
a*
product
liki
"ml
ol
once the
tlu
corruption
high Modernism.
ot
\1.1i.
Mich
ed
in.
ii.,i
tiilli
linn
.m^l
Pei
Hi
Mori
Noti
<
"ii Si
iilptun
Pwi
Beyond
.it.
68
t
Ibji
<
li
in.
111
.11
',!
:.
rnin
I'.uin
1961),
[rts 1
't>i
Batci
ock (New
>
>r
Due ton,
cht
01 tin
n ady madi
l>\
and
pull chain,
x
8'
elei
trii Ity
inches (45
Light bull
20.3
21 cm). Collection
ps) to play ai
(tat
Jasper Johns.
Modi
rn
mt
of
painting
dimi nsional
30 Location
isa
<
)li|<
cs
1.-,
ot
>l
object
work
placelessness
wood. 17'.
flat
ontingent
and
ot
Thus,
wo
ounting
tint
stresses at
irj
dimi nsional
-relict object.
viewing
empties
pictorial convention,
tun
ot self-reference
three-dimensional, low
tlu
it
tin
as
bending
tins strategic
ot
ceiling,
piei e
notion
so ndi
elements
and
>l
Du ham]
a wall-
is
it
"representational
its
it,
Manifestly
beyond
n ady madi
Johnsian machine,
explode the
to
of thi
such
is
used
is
thi
.ill.
an imagt
u.i' previously
bulbs
I'oeil
1960s,
nt.
ither without
<
so
ilis(
from
Metered Bulb
In tins, thi
I ...
tudult
sin h as
resoun es
all tin-
readymade
.1
dtp:.
substituting tor
in uitry
represeiit.itK.ii, Morris's
l<
.1
'
of illusionists
may
work n
ol
tin
ridiculou
surt.ue as
even
tin
depictions as copit
the electrical
anyom
this
non-
'
inverted /.-shaped
.111
much
:.
paint:
tuiik
depiction than
the self-
of
Johns
[Johns 'sj
case.
's
Duchamp
than in Pollock
'...;'.
bachelor
of the
masturbatory, autistic
as
sense, Marcel
said,
or
1963
1.
1963
''.id
-.21x21x1
lettei
.",
ml
inches
CKILIMG
-'EET
WALL
FEET
LOCATIO
lOH
^1
MEASUREMENT,
Looking
1963
for a
meaning,
artists
mark
and reducing
intrinsic
sheathed
of"
Among
many
the
precedents offered
L913 1
Troii Stop}
of a
unit of
images
shrunken
a reusable
through one
standard unit of
transformed the
at
wires. Peered at
produce wildly
to
Duchamp
disparate "metersticks.
an
1),
suspended from
ruler
self-consciousl)
Marcel Duchamp.
measure.
a basic
in loosely
approximately three
R/er(1963, no
homage
were
in
feet, are
suspended
to
and
set
tirst
1963
in New York
d Ruler with
another work,
edition,
28.2
1964, number 7
50
of 8.
dimensionally
11x9
inches
At
first,
anomalous w
wooden
being
into
empty
sigi
context
an
While,
what the
the
same thing
'
and Out
';
assume
every
spatula
ham
foi
seamless,
ommi
lown
scali
from
standard mi asim
some
h in
thai th(
I.
tins
COCK
the back
oil he
like
itself
random shape
in iln
lates
Each
ii
li
assumed
(oi
ni linguistii
.i^
il
Its")
fell,
thi
empt) sign
sign called a
and then
ul
them down
I
both
lines in
in relation
neci ssarj to a
and
ni.H linn
oi
rclii fliki
pronouns
profiles
In
is
used in relation to
hit h,
"si
words
oi
like
k.
M.iiiiK intimate in
iim in
In
manj variations
on the n
im.
rsii
'
"i
Mi. inn
lit)
i,
of enunciation
r.ms
I'ii
\|.in
I
"
',
on
Sec
lixabi
1 1
Emili
Mi
pp
chesi
im
thai Morris
.nu
B) provid
CUNTand
embrace
of
in
ai ih
ases largi
'-I
name
rangi
Duchamp's exampli
to I" ai
it
in ai tual ruli
thou
hinged
ii. il
i,l
ot
Morris's later
mi
seems
1)
side bj side,
lie
the k in
oi the interval
no
wooden templates
nsui
1')('\
ohercnt group
produi ed in im
"mounted"
produi
identified objects
ise
Morns was
making
oi a
contextual machini
a purelj
is,
later call
Window Number
tht
foi
unt)
nfe/l
paintings (for
irclt
otherw
itlnn an
on the base-
or devici for
in
would
strut turalists
/'
li
Tun
an
a large
ruler
shadows and
pla\ ot
ntitled
wood)
in
wooden
the squared
New Haven,
an
Schwartz
from
$2),
of
vertically
(129.2
rulers.
custom-made wooden
with us endless
bi
las
halli n
i
id
d teed
31
>
>d
N Aiirams.
r
:
\,\/
7
[,J/
\
L
Lr_ri
i t
J_LlUH
'i!
28-2
inches (25.4
72.4
5-89
ruler
2.5 cm).
Two painted
base, 5
16 5
'?
x 1
'/j
Inches (14
42.2
the artist.
powder
glass case on
rulers, 3
New
in
lead, mirror,
Museum
of
Modern
Art,
MEASUREMENT 137
35 Untitled
1964
'
IK
Brown Baker, B A
Ga
and wire, 33
/2
North Carolina
6 3 /ie
x 2
Museum
hook,
ruler, spring,
inches (85.1
15.7
6.4 cm).
and
MEASUREMENT
39
1()
'
facing page, top: 37. Untitled, 1964. Lead over wood and
cast-lead ruler, 21 x 15 u x 1 'a inches (53.3 x 38.7 x 3.2 cm).
;
Private collection,
New
York.
5x8x6
12
34
2 inches (30.5
M. Benjamin,
New
86.4
x 5.1
artist.
ruler,
York.
MEASUREMENT
141
SELF-PORTRAITS, 1963
Duchamp
In IV 10, Marcel
Andre
humour
as:
that
noir, a proposal
I'
and of the
the
nails,
dropping of tears.
laughter,
tor
->
no
composed
13), a "self-portrait"
it,
machine could be
196
framework
Like everything
."
Duchamp, such
to construct a
self.
was possible
Portra it
tall of
it
representing the
slight,
smoke,
hair
contributed a project to
Breton's Anthologie dt
compartments of a horizontal
similar
of
producing works
Duchamp's
ot art
machines
ironic
production
tor the
of
which the
some ways
of
Duchamp's machines
from the
the
first
Expressionism,
New Dance
the
machines
The
to
<
The
ireumvent
produi
any
to be, before
registration
task-relat< d gestures of
expressionism
this
Morns produced
in
1963
problem
of
how
to
of
"self-
relation to tins
ill
mark
wool,
il>. ii
went
(EB
rtrait
w rark
to N(
44),
i.
Mt di
niversitj
Morns
Center
al
to have
on himself
tor the
length
halograph to
He
height
mv
ond
si
<
ct
was
differ* nt
to
an
.mas
mi asurt
1
nli
tin
n\
of
Bj
m
l
EEG developed
ing
the skull
as wavi
i,
,i
in
Morns used
iln
involved, as well as
in .ul. hi
tivit)
In
is
tht
plaint)
al
cht
')
apat
>ught
brain,
normal
ould
fi
would appear
mat hint
\
ol
itj
patit nt
ti
ruditj nt tin
to underscort
mt asuring
av
absurd
technologj
at
ah/anon
hnolo
tet
and
hnological
i.
nt
lot
trades on
elei
.ii .1
the
in
medical
at
it
Hearing (1972,
the possibilit)
n
ive analysis;
an work, but
as an
strong belief
electrit al
an. mm.
I4fl
um d
m. null
that
ver
latet piect
mparat
hnolog) of tht
it
ribi
alsoobtaii
presumablj
this
time
of
iinglt
reductivi
Marcel Duchan
in
a verj
rj
minded and
notion
x-
mark
ironic self-portraits
wen
is
'
r,
cd.
re-mental"
can be differentiated
whi< h every
in
sell as "exc
expenditure.
of
Duchamp was
connection to
body, thereby
artist's
the
of subjectivity as
artist's self to
mocking the
tor Morris;
examples
niversii
191
40.
Wax
10
/8
Brain, 1963.
Wax over
27
plaster cast,
x
in
glass case,
London.
SELF-PORTRAITS 143
41
plaster cast,
in
glass case, 7 /?
x 5
'
bills
over
inches (19
16 5
in
glass case, 6
x 7 x
144
Silver leaf
inches (15.2
fluids,
47.6
Art,
Tucson,
Edward
Museum purchase
G. Gallagher, Jr.,
Museum
of
Memorial Fund.
iii.
>/*
17 inches (179.7
of
KT RAITS 147
MEMORY DRAWINGS,
1963
Morris's five
in the
(EEG) (1963,
(EEG) shows
Just as Self-Portrait
Memoi
that consists of a
primary text
ing, a
summary
(or
"drawing"
>
explanation
changes
in
to the
Jungian notion
kind
specifii
ultures
an hive would
of a larger
//
197
ri)
which
to reprodui
knowledge.
major
role in
wj was
91416
from memory
ilcse
In
Somi
a
ribing
it,
Morris
form and
the
<la\s
bgai ithmii
Drawing
i
until tour
-.1
i:
m.
from
mi mory, and
Ins
on.l.m,
formed by the
narrative trail
evi nts of
45.
20
drawings
is
aughi up
in
ing into
establishmi
formal
hi
w 'l\
"i
of
r<
pro
ess of
ni of a
petition and
t<
.i
kind
of
entro|
ij
-mil
47
Ink
mi .mine,
in,
Thi
smoothing
Mi "
ptual hasis
IM
and
ovei
>'
ol
Moi
indi
ed
i
i
i
si
irtii
gi
13 inches (52.1
p.m.)
1963.
33 cm). Collection
(52.1 x
p.m.|
33 cm).
1963.
Colli
48. Third
gray paper, 2c
p.m.).
1963.
cm). Collection
In
11
ralization
again to the
rodui tion
of u
iu.nk. as
effa
atti
ol the artist
thi
ii
witness
making
on gray paper,
sm.il meanii
ontains within
hii h
"i
of
Ink
33 cm). Collection
on gray paper, 20
ol the
mi an
in
to
13 inches (52.1
term
ship between
lai
46. First
these
memory,
rosion of
produi tion
mi moi
r<
of shot
hai of lot
ind an
Ii
undoing
in a
Initial
.
'
ompli ted
Ink
as
number of drawings
pro
.i
memorj
of
in tin
recentl)
as a run< tion
mi moi
.1
Morns was
theories of i
In
Morns had
making
to indicate a
reates
later play a
no 88
'
Drawn
hive of historical
arc
of tin
.i
worked
is
Clearly,
memory"
rial,
made
effects
of a
ri
and congealing
mind.
means
recently electronic
idi
in
temporally through
etc., or
in print,
ords
rei
marc
entropy
of
established:
(The
compared
more
"aesthetic
in patterns ot electrical
memory
is
composition
lasses
it is
.(or
Insofar as
its
Drau
mark.
of
interpretations of
memory
his interest in
a page of writing to be
concrete poetry)
no. 44).
Initial
artists
I963i
fi
Ii
ichi
(52
p.m.)
1963.
33 cm) Collection
f^*
five
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l
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The
problems
be successfully solved
to
on the reduction
was
Previous Knots
less accessible,
mediums
Remember
to
turning
Golden
'
to
part of the
end
artists liked to
is
no problem
is
";
which
reflect a
boyhood
ot
<
L963,
51
rio.
own
h.is
us
Knmei
Minimalism, Hilton
art or
Modernism
disaffection with
1:
"In
own immutable
other Fop
mi
il
thej
in
.1
to uw
Mr Greenberg
has taken on
it
Hudl)
nonethi
a critique ot
they
of the
muse
ol
an
laws ol development
.iri
not to
end up on
I.
hard and
and
soft, rigid
in
maintaining
physical
a set ol
')
elastii
well-built
-would
between
his
The
works.
among
disparities
components, an intention
their
ol
square or n
In Untitled (Rope
of
flai
rope with
id
cangulai forms.
<
(1964, no
Pi<
54),
a thick pieo
iii
to the wall
Imps
on the
many
wh< n
to the floor,
ling into
sitting
Yielding to the
an
snakes
it
cop
in thi
o|
an
bio. ks
f<
foi
of gravity, th<
forct
.iroiiinl b<
of a
wood
Ion
ube
p. out.
ni.it
.1
gray, as were
of
Mom
fasi
and
.issoi
him
tations
nsidei
su< h as
and
n
l.
ultimately wove
In
in,
to
memoi
fiv<
thi
drawings (no
k<
uti
work
of a
d from mi morj
(19'
ri
')
'
and
text
powder
26
14 6 cm). The
Museum
8
ol
wood base,
x
10
'
<
Modern
'
Art,
<
inches (20.3
New
knotted
win,
!!
at
>
via
tin
is a
intervals, strung
i
at
ross us front
ropi
facing page: 51
abovt
l
si
Painted
Knots
The Detroit
Instil
York, Gilt ol
Johnson.
tin
40
wood
x
8.9
52.
inscription,
53 Golden Memories
[963 Glided
hook
ropl
.old leal,
rH
1.9 cm).
Andy Wait
Vt
')
of
Modern
Art,
New
feet (5
49
m).
ARIZONA, 1963
55), the
nt/.
dance Morns
first
developing context
Although
Sitt
196
<
no
4,
to the
it
be
and
language,''
the rhetoric
the
of
Drawing
two traditions
of
space
literal
viewers
of their
Michelson
and the
in
linked
real spa<
ulpture as two
si
would be Aaih
it
sm
crs
h as Simoni
in of
Morn-.
[ike
only loin
this
medium.
strin tu red
liiu
pain.
foi
mark within
its
both
Ins
By the fourth
outer edge
this d(
eno
ring
in lassolike eircles
that
L(
in.
(his
(he-
luminous
heads
lights
of the-
and
his
in les
audience
il.in>
tO
performer
I.
which wis
preceded b) U
than a rule-driven
less i
perti
with
II
V|.
II
\i,
\,
Ii.
,,
ol
Gallery of Ai
1
i
li.u
\
ulpiun
awas
larger.
mill
ii
dam
made
is
vt
mfli Cted
us
fix
to
segment,
In the third
in. inn.
>
a dancer
ul. ir
it.
m\ ever-
rc
is
made
Morris's
arolei
who remained
Morris,
ntional
01
oi
over
displaced from
measurements
As
Although
is
as he takes
from
different
is
own body
between
a parallel
a 7
widening
so
the
onventions,
segment had
systematic critique
first
as
on
movements could
ifi(
tin performer's
not unconnected
notices that each
its
In the
of obje< is
is
text
its
each section,
One soon
specific gestures
opening
movement
of
it
works tour
of
its
number
vi.
hod
180
ns, as
prolonged motionlessness
Ii
us
s.
pi iii. inn
stands alont on
duration
In
torso
stun
of tins g<
sideways to
is
is
th(
rmim d
det<
and,
itagi
thi
at
audieno
bj the
'.'
55 Arizona
thod forSortin
\l.
s<
19t>.}
ludson Memorial
993
CO
Ii
toi
net
i
.n
an
Hon
in iln
.
|
it..
ii
In
Inn
New
kyard hold
inn
.1
:.
stun
at
in.
Huntei College,
the
is at
unfold,
'i
annount ed
reconstruction of Arizona
ho holds up Ins
56 War
iiiui.iiii.M
hi h.
New
lorrls in
costume
ludson
'
I
1964
2 1.3,
February 196
In
before
New
in
Morns performed
21.3 (no.
was pan
York
Clad
in a
opening
of the
own
reading
of
But
if
by means
When
Panofsky
isual
torminj; part
identity, as
word
is
at
D
Press,
from
sec
im
within
view
ol
is
configuration
However,
In
weni on,
"\\
hen
abjtct
an even (hat-removing),
have
sphen
Erwin Panofsky,
M..r\ I'leMlcr
Lectures
^ ork
l
l
>o.'
As
ol certain details
first
happens when
til
utes my world
I
me on
what
found
Banes,
Sail)
an acquaintance greets
hat.'
The
187
.'
series
he stood
tie,
ni
Surplus Dance
21.
produces the
of
and pouring
s<
arms,
were meticulously
The
of
removing
a glass of water,
belatedness
sounds
in
of sp<
e<
h,
>
the performance,
operations and
onventioiis
of
perception and
with
<
ii
nis signifj a
temporal gap,
dam
as well as
where hi xplored
gesture, fun< tional movements, and intervals of
n h spat e At
in H when performance an was
Morris
ngagemi
ni
.!
ith
e,
sell
no
1.
hniqui
mm kingl)
an
Huntei
di
monstrati d
he
olli
it l<
foi
models
the
pi
of analysis
rformani
and
listing
57
ai
21.3
1964
Moms
in
performance
at
1993 reconstruction
New
simultaneously marking
was
of .hi
York.
ol
21.3
at
Stella
in
The
was a type
result
make
ot
45-49],
[nos.
all
.\l.
ie\\
in a
lead box.
Drawings
Once
Duchamp
el
Morris,
and Untitled
passage,
its
Morns
/
Line/
works
in
no. 61)
i,
ana
conveys an
II Ids
intention to exert
its
hand and
to
l>
also
resistance,
its
and to continue.
force
Id
II
weight,
0),
'
toes clinging to
Morris's footsteps as
tr.n es oi
hi
In
made
commentary on
ironic
with the
artist's
authenti
/.
plaster
whose
ii
(1963, no 62)
t)
been
that has
fist
thi
ed atop
plai
composed
wooden bo*
is
- no
two-tiered glass
is
itrine,
ntitled (Glove)
on the top
ast
is
ill
glov<
1963)
shell oi
hi<
worker's glove
oi that
I.
)ther objei
fantasy
as so
oi
we
Morns
offi
ni
oi torsion,
up
ring
v.
ni mil. in
bod)
chi
d valui
nlii
n\i rlaid
hand
Ik
OI
..I
lli<
in lost
,*
clear in
two
tiered
Ii.ua
Hook
with
ihi
r.nl.ih
obj(
is
di tai hi
d as the
(19'
was madi
I),
u ni
in silvt
mprinting
le
I;
Marcel Duchamp.
nches (9
mus<
:ensi
inti Hi
in
U])oi sheathed
hum
>>i
ad
i.
in
nge
hall<
insti
mov< mi
find
a tool
heroism
to painterly
related to
ts
and
nothing bui
as
it
ralize
liti
awl
mi
in
works
.i
opposed
many
lins,
a strategy plainly
tin
ol eli
hosi
ts
\ ii
thai
im
Female
14
Fig Leaf
1950. Bronze,
itself
closed
EEG
sits
hook onto
The hook
by-
its
J,
58. Hook, 1963. Lead box with mirrors and steel hook,
glass case with plaster casts on shelves, 16
(40.6
121.9
48
of the artist.
12
'
inches
23
x 4 inches
J.
(914
91.4
94 cm). The
(100.3
60.3
Hokin, Chicago.
of a
inside.
36
1964
x
36
original.
x
37 inches
&
3i
Lead and
two
it
units. 4 x
pi
li
62. Untitled
wood
(Fist).
6x12x7
inches (15.2
30.5
17.8 cm).
SITE. 1964
an event
dan.
>
at Stage
rk,
for
in
Dance
partnering, and
''
of Judson's approach to
was
oise
IS
r-.-r.
ir.z
soil,
sculpture. Morris
that
made
certain, in construct
him
work through a
objects enabled
Royal Academy
penhagen;
Once
.:
..-id
Festival, in
Malmo University,
the
Ann
tie. like
.ice
r.
lessry
Her arresting
clement
plywood panel
Yet. as
Donald
it itself
like Morris's plywood panels
becomes the occupant of a third dimension, and with
the collapse of the distinction between two and
three dimensions comes the collapse or the distinction
between illusionist and real spa
would appear
)* 8 (196)1.
DoaaldJ-.
reprinted
to
.on
downstage
left,
*i
Site
1964
his original
rd
once
>: -r-
Moms or
of
pallor
ng, dropping,
.:
'
of visual
figure, while
labor he performed
at
painting,
hinting at pre:.'
1962.
to
pun on Modernist
>
I -Box
to relocate
-.:.
pictorial conventions
dismemberment of the
that of
Moms
problems,
the bean
set of
chigan.
lit,
to
in
at the
hackhammer. Once
emphasized
>
done at th
tt:
qualitM
al
(the drill )
in
_rd
Modern danc;
The^.:
^petition,
organized by the
ph\
part of
roc
''
Carotee Schneemann
hi
1993
-stroctior
:
-<3
Schneemann
hi
Ne
art operations
emerging figures
Donald Judd, Morns, Claes
its
Mark
di Suvero,
as
it
and Robert
gallery
The cooperative
his choices.
Bellamy provided
did not.
its
in
orientation of the
was forced
it
cli
In late
274.3 cm).
Diisseldorf,
fabricating
Li
show
for a
Galerie Alfred
ai
to exhibit at
)'
fs
would show
at the
Green
at
Si
and
rj
rallerj
<
to Morris's
ini
in
from us
raised
bi
eiling at ey<
!_']>.
am spanning
orm
'
tetrahedron
Piei
acoi
(no 6
level
ni
aspect
length of thi
cheapness
floor;
cangulai
ntitled (TabU
I,
ind U\
nil
s/.
an angulai
wedged
its
led
Wall
wall
hiti
cural
siti
and
cho
Minimal pi
f pi
thi
important
man
foi
ial
lu
that the
partaking
ot iginal
thi
foi
ii
oiu
pi urn
ol their materials,
outset to b<
anothi
view
Morris's
n fabricated
bjei ts wei
Painted plywood,
30.5 cm).
and
east ol fabrication
as pret ious
CO allow
a di
oi
meant
adjai
ntitled
thi
min
248.9
ol
Bridging, or
12 inches (248.9
with
Flooi
am
si
forming a
arlj
98
bi
galli i\
regular
I),
98
'ntitled
fit
B
oik
ion [no.
I,
lei
.md timi
d th<
1c
to the task-
iii
The show
York)
ommitmi
and
mov
oriented
his
the "publii
In
wi
ol thi
re
ont
logii
ivt
"i thi
d, thus, as reprodut
nous,
multipli without an
Exhibition at the
1964-January 1965,
GREEN GALLERY
SH
171
MIRRORED CUBES,
1965
shown
at the
is
ot Flexiglas
on the gallery
of the room.
The
CO
is
work on
places this
would
shown
Dwan
at the
the
fulfills
the gestalt
part
first
and
onstant shape
1966, in the
in
oi Ins
was
capacity to
its
subsume
other
all
particularizing relations
hereby
ale,
si
all
proportion,
these
etc
.,
are
sivel)
ii
an< riled.
ot
In
mphasis on
spe<
ifit
shape,
ol
a fra<
h a
Ii.
in
h In
impn
inti rnal
Ins prai
ssivi
divisibility
between
hi
emphatically
and
rejects,
illusionisni,
e in
VLirrortd Cubi
ch<
with
bi
Y>
ol
understood as operating
both
this
in<
oi
1965
internal relationships"
shares with
in
its
on
to
ture
Sm
sensuous material or
in
ol a
53.3
<
the
Morns
employment
ot mirrors, Judd's
of
own work
1965
ot
lolated
That
description.
its
physical
had entered
this contradiction
in fact,
as an
noted bj sonic
ot
work.
understand this
to
terms
who
to turn to
is
in its resistance to
ot
ot
Endhw Column
the
employed,
tor
example,
Beginning
"t tbt
World
uX (1916); and. as a
events recorded
111
up
high,
Museum
of Art,
'
ol
of
the
iewer
were
all
to
inches
Arensberg Collection
Morris,
reprinted in Mini
bruar)
Gn
ed
ot)
19<
(O tober
Morris,
Banco
in
I
tin
dimensions
illusion ism
which
is
Battcock
and
'
ridofthi problei
real spaci
art
ol literal spa<
space
in
Halifax
(Donald Judd,
in
reprinted in
'Specific
Donald)
Nova Scotiat
Rosalind Krauss,
Objects
nd Design, 1975], p
olli
in
Ifl
Donald Judd,*
M
Rol ert
Smith
(Philadelphia
Dot
Jd Judd,"
7-1
Sculplon,
'
\n
,i,
loll
<
xhibition
.i
I",.
(New
~i
orli
l,r
Mi
(
I
unpublished masti
in
Institute of Contemporary
r's
th< sis.
"
lunti
..ik ol
r
Col
<
onstani in Brani
\i a
n
"i
"it.
each 24
36
36 inches (61
91.4
91.4 cm).
MIRRORf
17 5
showed
In 1966, Morris
group of
Dwan
polyhedrons at the
fiberglass
principles of high
moment
composed of two
from the
The
between the
slits
work appeared
Museum
in the
Los
which appeared
Clement Greenberg
A month
its
after the
commitment
to the
derided as
to be
more than
to the
each imbricated
justified this
time.
which he compared
in
until that
the
Because of
its
It
Transgression," faced
Clement Greenberg,
his
reprinted in
On
audience.
atrii al,
quality he
.1
between
distini tion
painting and
ondemned
Recentness of Sculpture,'
two most
ol
1968),
writers
among
has n(
.irs
Antk
waj
ol
11
In
I".
Ol
and
ontingem
is.
It
the
ilinik.
pp 116
17
in Ins
(
l
>s
any way
1
in
in
thai
1
Thus,
it
was
its b<
holder,
ol that physii al
titeralist
its
l)(
1
emphasis on
relationship
176 ROI
But
it
both sides
in
the
legitimacy
whili
|un<
foi
P01
nding
ol
prim
it
constituted
'
has
last
!
in /' ....../
965), reprinted
NovaS
(Judd,
the
in
ii
including,
it, .!-
of vision
ii
rhen
nothing thai
wen dtcUm
.
means
in
hi
i.ikiv noti
'I
in
>>i
ttion,
addi
11. 1I1. ,
worth remarking
//ofit
Kt<
gardi
ountj
181)
I
exactly that
tistii
wlpttm
Angeles
and
in
Minimalism's aggressivi
disputi agn
in
os
Gregorj Battcock
Ison
Robi n Mori
'ii
rj
ol
\"
I969),p|
\" Ai
is
chibition
and
ritical
Halifax
1975). p
painting
ol
.]
ulpture, as
both the
les
Specifii
\%
Writm.
prohfii
ai
si
ill
ol
.'
pp
Mink
blurring the
tor
sep.1r.1tt
on the writings
|ik!>|i[|n
ihared
"An Aesthetics
t.
.issoi
ol
<
sc
name
is
it,
into the
Art, 1967),
ol
Muli
2.
crowding him
or
ott
from grace.
fall
essay
critical
Museum
Continuing
ilirci tly
ol
presence
ol the body's
as
ili'
ol
"hterahst"
within
It
that Fried
If
theatrical" by
its
existing
what he considered
pure pictorialism
this ideal of
Sculpture,
as
was
It
as
half-circles.
Angeles County
glows
^iii<
atalogui
n>
"i
A\ ashington,
is
light,
two
units,
each 24 inches
of Art,
General Acquisitions
for
the Arts.
WITH
[.Kill T
77
WATERMAN SWITCH,
Morris's final
performed by the
Today
performed
later that
Theater
New
in
1965
at the
where
Judson Dance
reviews.
manner reminiscent
In a
t.
holding
cart fully
Eadweard
and throwing
to the out-of-sync
of rolling boulders.
the position
assumed by
tracks,
extending
oft
it,
When
from Giuseppe-
Verdi's
shimmering mineral
in
and
oil,
it
last
Muybridge's subject.
After a
plywood tracks
of Morris's
man bending
As the
and attempted
a rope,
seventeen-
was
sequence
stage,
on
it
Lucinda
in Buffalo
month
'fork,
artist,
down
showering the
mans
waj
its
Stage
Morns, holding
pole, while
hat.
a<
performing area, us
ross the
The
Labyrinth.
arc
seeming
form
to
trio exited.
its
ofl
and
suit
a ball
floor
long
its
<
calces
red flag that concealed the lower half of his torso, ran
./.
ii
hilds's solo
<
name (com
it-,
working
as
.i
sunn
.i
road in
<
r<rrw/(1963)
lu
piea
when
.'<
at
under
n Sexive
and transforming
within
it:
69.
Waterman
Rainer
/
hope eventual/)
nyone
bat
to
slides
slid,
tht
11
h,i\
dam
mi
n
i
be
<t-noli
occurring.
It
-i
A u
<
//</*
oj tin
would, of course,
imagint a largt
know later.
when
tuppose
n mon
it
ot
tht
rj
possiblt to
tndom
ti
iln in .ill
on
stmi,
ateithei
with
almost to
>/./<
back
h l>LI
toward
it .it
tht
)"ii.
ont
wings
Run
chest height.
./
Put
long
Tht
<
nit r
would bt
lis,
usi,l
In t
I Hill.
7M
tin
Let
twoatei
an J
"
>/<>
section whilt
possiblt to thou
is
qut
(torn
bt
been done.
rhaps
/'<
could thou
of this
example,
rhapi
tlidt
let
tection, for
oj this
rolled oil
tins
oj this
is
Minn
/'(
madt
mon
./>
ss
/ his stun,
in
performance
Today. Buffalo.
Jb-
M
w
//*
PERMUTATION, 1967
group
In a
works produced
ot
in
Castelli Gallery in
ii>rk.
permutation,
of
modular conception
in a
ot
making up
be the case
mpanied
Continuoh
A hand drawn
no. L07]).
chart.
possible configurations,
lists of
The permutation
gray
a neutral
however, are
pieces,
which, because
of fiberglass,
us greatet
of
detailed
of
its
tin
strictly provisional. In
Sylvester,
still
'
liar that
working out
of
the
of
all
[j
He further remarked
puns arose, in pan,
permuting
the
diltii ulties
Ins
sc
son
his
presented
xperiem ed
iisrll
mc
to
The
thai
works
oni
rilniii
situation
"i
light
is
cingi in
and the
reinfi
Ins
is
ol
ontii
both of which an
iti
ei
|uallj
nci
ch<
sui h
room
ol
Bui now
in
sul
is
ij
b
the
10
HO
si 21
ind the
it,
(120.7
the shapes
New
tors
fai
size ol the
si ri< s
to the establishmi ni ol a
added)
as angli
unknown.
mighi make
sun
in gi tting
rathei
1967
of
fi
he had
of
thai the
Eva Hi
21 5.9
47
1967. Fiberglass,
'
R.
85
47
'
inches
Guggenheim Museum.
.18
22
6 inches
22
feet x
Association, Philadelphia.
SERIALITY
Working
in series
adopted practice
1960s
of
ol
The
which
painting as
art, in
was
way
But
was
it
through
and
of
composition.
seriality
ns
s.im
the cim
c.i
fiberglass
nu. ins
oi
in Ins
cii
The
simply order,
one thing
is
order
than he was
of seriality
permuting
form
a singli
posi
idem
where the
Vf/'rri
stable
unpainted
s,
!,
no
16),
no 14)
and
in
complex This
196
nnels)
ai
also a
h foui
two
Untitled
omposc d
<
f<
is
nt ol
Fiberg/asi
of
si
oui as
between
if
on
ai
tin
Bui
repei ition
rial
si
as
mOV< mi
the
(Nim
high and
squan
.,i
is
also true
ol
fool
.all.
is
whic h
with us investigation
'3),
squan columns
ubt
72), in
form with
r<
ii
aluminum mesh,
1969, no
occurs
it
no
'.
steel or
xpandi d
[/-<
ol tins
(19
g( Stall ol
\uwer And
Untitled (Fib
in
and shaped
bj a use of materials
ire
in
ii
-is
joints
have be< n
to
its
of
nUntiti
and
When Morns
of a
in
shattered by
us.
lunges
experienced.
lu
"compromised
intentionally
the
of nails
the
eeirscvl
plywood, and
interested in tins
less
in a
of
in
exact repetition
e\
generate
to
most
after another."
type
of
not rationalistic
is
.,
shadow presences
tor the
underlying but
.es
s L ( a
Nov
188
steel plates
As Judd explained
1965). reprinted
Halifax:
II
units, implicit!)
juxtaposed
of
and contingent.
Jiv isible
ol
the nine
of
to the next
reflections of the
intangibility;
in
veiled passage
ot
The
series
Minimalists, Pop
minor
21221
in
ofthi
sleeves,"
olor.
with their
oi
fiii
tli<
hi
.in
>
is
oxj
g<
t,
when
n wi n
texture and
hi ighti
'I
chroi
and
72 Untitled (U Channels)
d to thi
lui id,
12x61
graj
thi
1969
E)
crappi d
Minimalist works,
I
unpointed
Solomon
R.
inches (160
106.7
156.2 cm).
Hon
Yorl
painti d surfac es
unpainti d
196
enl
i
hi.
.iir
effei
irregularly streaked
in places
ompan
of
ii
HI
ol
earliei
.m on.
bubbled
pockets
tinj
illegibli
material in a semiraw,
The fiberglass
ars
an ambiguous
.in
ic
useofthi
Ik
thi
unqualifiabli
ii.
I.
in
mat*
iality,
to thai ol
irt.
New
York
Sonnabend
61
Collet Hon,
INDUSTRIAL FABRICATION
Two paradigms
of the "artist's
imparted
shimmering
effects.
The
other
self-evidently divested
is
ot personal intervention
by the
is
These effects
1965, no 66),
stability of the
came
This by-product
One
that plans
is
which
principle of
fa<
to call an
tory
early Minimalist
in
the
his
.'
permutation
of
experiences
ording to their
ac<
committed
plai
to the
but
ment
logi(
what Morris
>>t
called
shape
ot
pis
inti r\
work
to
materials
in
carried with
the-
it
ot
lit lire
Pan/. di
nil
Biumo
ilized until
With
tin
ritical
Miiiim.il:
>
to n
1
1.
pi at
ion
plans
from
prai In
medi
ling
new method
In addition, this
was appealing
as a pr.n in al
t<>
the
work
wa\
in
man
answi
foi
<
the
such as Alfn d
wlnli
i|<
of th<
re able, bj
fabrii ators
dec ision
and arrangement
ill
quired
at
success
ial)
io In n Id ol
date
Of
lion
form
these mists wc
111.
is /
19
land finam
Morris
l>\
in the
rtist's
unknown
an
at
was original!)
Mi. whii h
'
"making" works
possibility ot
variation in
man
rial
and
all
;i
hi
ulptun
s<
and
<
<
.!
<
01 in
1
man
aluminum m<
lass,
HH
ih
rials sin h as
aluminum
and colorful
icpandi d
l><
5t<
ams, translui
01 rcflectivt
plastics,
and
<
of
.
was
it
its
p. 34
in
of
opposite: entropy.
simple
large,
swallowed up
to be
used attention
of industrial fabrication,
internally reflective
on the nature
whose
nt
mediums
An.
u
ifiibition catalogue
1967), reprinted in
York
1967 Aluminum,
12 feet
12 feet (1.12
3.66
3 feet 8 inches x
INDl'
189
12 feet (1.68
New
MM)
3.66
R.
12 leet
Guggenheim Museum,
5x14x14
feet (1.52 x
4.27
of the artist.
LEADS
Bronze has
own
its
set
many
delayed action;
reasons, the
sense of form
ontinuity in Spact
lsMl
).
meaning
a part ot the
monumental and
to support.
medium
may
had only
ii
ol
museum
in a
and again
196
in
i.
him
make
studio,
.1
M.u k
in/
Ii
of
long Stay,
ntit/edl 1963
64,
at
the
in
<
rallt i\
\i w
in
Tlu
a<
and
the Leads
ill
harged
in tin
some
in
<l
ol a
Beuys
onography"
a tract
tht
othi
rs,
relativi
,r,
Id ol all
Rather,
I,
in
embedded
some
on positions,
tin
mala
om
not
it
ol
.no
.1
di la)
<u
l.i
the
left
penis
is
(Hand and
invitation
so
rei
Holds) (1963,
Tot
of toes aikl of
In several
of fort
in tht
surrounding
in glass
/ /
In th
anv
in
cter)
Ni Yoi
hi<
l>
was
'
in
In
two
artists
I"
ing
to
\<
ad's
manipulate
tangulai
a
h, as
lors,
5mithson
planned <"
pi
rform
Robert Smith
Duchamp's no
/
r\
batteries
bui Mi
mill
it
as)
<
oi h
readil)
parallels Marcel
/
seem
Ii.im
Monuments
be considered
The imagery
m\ ground.
toj
tall)
notion
may
tads.
ripples of energ)
used, in
and
In Morris's relativi
i
ol
grip marks
the
exhibited
ch
mi tapl
its
undi rstood as
softness, whit h
things
point
ntitled
.1
of the
pushed into
at
ulva or an eret
Isewhere,
b\
the-
oi
with
identifiable
iiiu-s
role in
"ii
coils, a ball
behind
the
t.
of
ol toree
mm ing
,n<
lork
tlu
t
kuuls
from
major, symbolically
work, was
some
is
to
abilit) of lead to
a
form
at
Smithson
root."
h 1965.
played
the actions
locates
lira
ot different
to
no 61
mobile,
ol
no. 80),
exhibited
the'
on which tones
h he could, SO CO speak.
who
which he
tri]
Yvonne Rainer
to
isit
a relativelj
own mark.
his
Morris's
with
L963, no.
caught
rarel)
making
oran's
<
1958), (Lies
of
1959).
all
and Squalor
Reason
applied to the
In
B-movieOm
Flavin's
of
similar reading
Flesh
states or ideas
ot the
of
it
fossilized sexuality by
own cast-bronze
of his
Morris's imprints
of
light
it
made
in
ot
"backward
casting in bronze ot
sculptun
16
is
ii
nli. In
in
bitf,
which would
A
i
ipyandNew Monumcm
(New York New York
Holt
Universit)
ins
11 feet 7 inches
3 inches (1.83
New
3.53
.08
rn).
York.
193
'I
facing page: 78. Leonardo, 1964. Lead over wood, wax, and
wires,
1
'
inches (29.2
22.9
Inches (43.2
51.4
Los Angeles.
LEADS
95
IX,
36
2 inches (61
91.4
x 5.1
cm).
Location unknown.
facing page, bottom: 81. Untitled. 1964. Lead over wood and
two
19 J / 4
batteries!?),
35
inches (50.2
90.2
x 7
cm).
156.2
20.3 cm)
overall.
shelf,
70
61
'/
8 inches
Lannan Foundation,
Los Angeles.
'I
tin
,(')
[115.6 x
92.7
II
20 3 cm)
overall
Germany.
Museum,
27
H. Grody, Philadelphia.
LEADS 199
New
aoo
it'H
niches (193
i
166 4
76
6b
New
185.4
73
6 inches
York.
LEAD
a 111
HEARING, 1972
designed to produce a
is
a defendant, a hearing
Morr
and
memory
final
in
Mapping
of representation: those
acquisition,
(its
status as
its
ot stable
convictions of Americans
ot art.
without overtly
circles,
those
ot
Witness
its
and works
investigator, the
and
to the
in the
of
title
Evidence
\\ itness
The
them
final
political ideology,
representation
the apprehension
of Morris's
Vietnam War
into
aesthetii
i.iIU r\
New
discussion, recorded on
York,
ol a
dona]
fii
The
mounted
composite
the
ot
entral
harai tcr
hinted
rs
haii
physii al threat
dynamii
tra
groui
he
ritii
'
ing ol th<
partii ipants in
filmmaker
Km
from
Norma
In
loll is
ice
of ai
and
tress
tot
I"
In the
is
all<
HI
out
ol this
>ll|
fii
is
ran
(
t
fa
Marquez,
laude
art
materialized
both
it
in
at
narrativi
and
tin
itness
""is.
ultural
Ull
Id in
usatory-
relations ot
the obje<
admittedly complicit in
ts
its
power and
brutality,
on the platform
quoting
and
sell
ol "authorities" to
is
when
lit.
evidence, on
i<
he-
read
Text, Ideology
he
W.J. T. Mitchell's
was reminded of the overriding concerns of Hearing,
inn
and
<ii
w.ns that
ly,
tin
named
that involve
i.ihni
tin
mti rposition
struggle between
OK
voii
d upon to addn
from
It
(th<
of
ol
them
ulture, that
mi long ago bj
of
<
\<
foi
dominance within
n figured opposition
'
whii h qualil
I
an Investigator
oui auli
ii.
the Witi
Noam
such as
and
a<
language that
Mm
writ(
commentaries
of objet ts
interrupted In
ntlj
of
the
Frampton and
use
hi at
hi
<
OR lustration
tin
\\ itness
Stephen
upper
boiling point.
k,
intelli
ol
<
the
ol ini
I
in the
to th<
it
in a
d bed and
r<
the
of!
and paraphrase
hair on
intention prior to
artistic
the
at,
listeners
an
mi aning
In his
And wink
is
approaching these
of
of
through privileging
can be read
ways
rejects certain
among them:
an object In waj
tor
Witness
tliree-and-onc -haltdiour-
is
objects,
iform tableau
ru<
on
in
issued from
i
which
voices.
history,
many
in
considered
Hearing
"reduction");
system
alluded to in relation to
belief
in
is
al
w
t
in.
\l
i
78
24
72
30 inches (121.9
36 inches (91.4
198
10 inches (61
in
sand
in a
high,
61
182.9
x
x
bronze
12 feet
ME A
HI
Mi 803
Hearitu'.
BO
Hearing,
detail.
too
to utilize in 1966,
among them,
an emphatically provisional
of
to
Minimalism
of
which understood
interpretation
kind
real
Morris's notion
an absolute shape,
stalt as referring to
perception
was challenged by
new
this
at
obsmu
Paradoxically,
ot fiberglass).
complex polyhedrons,
these
the
iewet physically
30
to
47
12'/ 2 to 17
31.8 to 43.2
Art,
28.6
to
units,
Museum
of
no 89)was
(Quarter-Round A
titled
wink
made
aluminum, has
of
ntitled (Slung
The
Mesh)
and fabricated
at
its
enter,
Ring uith
Donut
Squart
Eva
in
(19<
I)
sculpture entitled
Tori
madi
l\
nun
part
[1969], in
form
works.
nti red
no 68) and
(who subsei|Ucni
lesse
igbt
square-
is
Both
bj Alfred
at
toronl Quarter-Round Mi
bottomed, empt)
is
twelve
fool
low
slab,
1\ in.!'
It
assi
is
opt
hi
in less ol
top
tin
mbled from
together
ol
lv<
whu
bj
h forms a
six pie< es of
two rows
in
of three
the
rs
nul introdui
new rangi
and
ranspareni
exterior, betwi
ol thi
mesh planes
and
as the viewt
mesh
i
In
rl
wholi woi
k, disi
ii
ii
in Hii,
diffi
A
also
i,
n in plain
l.
in. uli
in
high brack*
.-
hi.
,1
ni
win
s
I
ol th<
SS
In
from gras]
and
loSUn
mesh's
.n\^\
diamond
thi
with
wt ave as
overl
from 1969
aluminum m
'
<
bannels (no
ists ol
ten
two
fivi
evenl)
foot
109
276.9
R.
Collection.
207
1MIN
3x12x12
feet (.91 x
3.66
six units,
Cologne.
809
(I
spaced rows of
the tows.
The
five
with a pathway
left
open between
The
shifts
made
promoted by the
looks forward
would seek
in the
Once
combat the
simplistic interpretation
of Minimalism.
1.
Quarter-Round Mesh
is
being shown
in
in
two
versions: the
first, in
the
position the artist had originally intended, with the squared side up;
as the
work had
been exhibited.
2
Aluminum. 10
Solomon
R.
'
inches
25
feet x
22
feet (.27 x
7.62
6.71 m).
FELTS, 1967-83
72
inches (182.9
'
182.9
Museum
Leo
Gift of
In\
ii
Fow<
'
and
Institute's Artists
hi
&
holars in Residi
with Les
Li
mi
Roj
Program,
ilorado
'
lati
summei
in thi
ompanii d
i>i< \
into
uli
-I
tin
I.
.in a
tu work,
i|um
tht
mum
.irnsis
ycd
building, wh<
who had
Ii
Ins .tin hi
and
tu
n.ii
At"
in In sir
i.i
was
It
nd Morri
-t
ii
moved
atti
si
1 1
on
whit
i.i
.iv
.hum
ii
Ii
ht
R tint
bei
ami
Wilhamstown, Mass.,
of Art.
work with
154
(pp
fi
hi
ofa
In
and
It
New
'
al
i.
1967 (pp
in
ironj
whii
mi ans
ol
mati
rial
to
d and
roll*
stai
ked
fell
Ins
s.nni
tin
waj oui
priori composition,
bi
hi
with regular,
It
bands
wink
ill,
material signaled
thi
had informed
pieces of earl)
mi
had
in
ni
from
mi
ideation
paradoxii
tin n wi ni "ii to
Ii
ni
had
em bled
Piled
projectivi practici
.n
thai
floor, turnt
thi
h, hi
It
f<
at this timi
hildn n
with linn
only
had
all
strips cui bj
alom
Bet ause
ded
thej pi
rt
ni iln
ind
and rags
ii
Imp
tht
in
area and
tin
he n
fell
196
nd
parai
si
ol
stipi
industrial
n<
72
Castelli.
i"
rs
Felt pieces,
Ii
180
.is
Ii
83)
tin
-ii
that,
omi
gi
xtreme
trie
In
verj
<
ai
trj
haos
next group
ropi
l\
is
ol
pieces
tin
uts produi
wen shown
at thi
and wall
to flooi
same month
thai Morris's
sense,
Minimalism had
tried
Random piling,
to the
Chance
material.
is
passing form
is
a positive
assertion. It is
as a prescribed end.
it
the Felts
in turn, to
member
was revealed
attitude
make
chose to
Felt
his art.
and catastrophe
As the
Felts
in
in a clear-sighted self-
began,
a founding
part of
with
and hence
who had
is
progressed, they
became characterized
Study for
101),
explored to
felt are
is
Museum
in
pink and
labially
with horizontal
catenary
Felts,
(no. 99),
legs,
touch
The
Morris's
Vetti
(1983,
no. 100)
down
to the
that sag
slits
ground
Ibid, p. 35.
Although the
composition
want
is
to
artist,
Decembet
1968), p. 210.
While
Fells
7.
New
8.
It
"''
on these
artists,
who
clearly
lini
its
Phil Patton,
"The
Fire
Most
no. 10
(December
a formative influence
Gregory Battcock
Morris's
1983), p. 50.
because they
10, 1992.)
up with
Fischbach Gallery
is
in
fixed shape or
at the
6.
Nauman, Keith
(or a
with the
limp
among them
County
4. Ibid., p. 34.
artists as well,
"Ann Form,"
Morris,
3.
work with
felt
American Sculpture
2.
5.
downward
in
at the
ulpture, Part
in
t:
New York
in
Beyond Objects"
sought to
Si
published
increasing rigidity.
The
gravity,
Felt.
inch (2.5
Phil Patton,
Morns, explaining
remarked that
it
"felt
relates to the
his choice of
medium,
body
it's
skinlike.
The way
it
takes
6 feet
'/j
inch x
The Museum
of
inch (4.59
Modern
Art,
New
cm)
thick, overall
Johnson.
Philip
1.84
15 feet
rn x
inch x
FELTS
-i
:i
leet x
8 inches
'
Felt,
inch (7.32
seven
.20
strips,
each
cm), overall
ii
6.10
x .91
Felt,
20
3 feet (2.74
i.
97
grommets, 9
6 feet 2'
inches 12 82
4.56
IIS
Felt
and metal
inches
1.90 m) overall.
i.
1978.
Museum
'
98
9 feet
20
New
6.10
1.37 m) overall.
York.
FELT-
99 Untitled (Catenary)
101
Second Study
for a
View from
243.8
Corner
of
Orion
(Night!
'5 x
gliO
4.88 m)
overall.
i^^^^BfH^^H
/I
STEAM, 1967
The
effe<
even more
is
\\
works made
related
made on
tin.
in
city's
in a large
As one
or
some twenty
air
made by
for
feet up.
indefinite sense of
its
although
art,
no. 26)
witi
and
no. 66)
the compan)
in
should
it
Together
latter.
ot
arl
1965,
Andres 120
fire,
Klein's
tionary definitions
d\i
(196
Ins
1958); Joseph
<
i Steam
cub
example
of
Art
to their
produi
art as
toward
t"
tied, as
imp
si
hema,
t.
to the
on
Mm una
art
.i
from
it
inextril ably
readymade and
its
refusal to be read as
contrast
and
it
significant issn
nd w here
us. ha
fii
thi
an And
to the
insofar as tin
working through
ted in
iIk
I'Ik
ipi
Minimal'
us sin
fit
Id ol
<
ol
ideas on
on<
fai
<
onnei
t<
than
it<
on
thai us
own
understood
iinisi In
ptual
as
Somi Ni
thi
us
n sists
Minimalism
'
in. mil' si
alit) ol
finall)
ii
'noun n
ii.i.li
to
m's
was
heir readii
produi
sin
tin
art as idea
repudiation
of,
at
ashingtoo,
\\
in
1967 (where
lnlcrihitinn.il \2,
ii
Washington, D.C.,
ol the
in
1969; and
present retrospective
at
the
in the
Solomon R
Virk.
in
197 n,
\\
Art
Morns
an extremely antisculptural medium. The experii
ot the work is simply that ot a hot, white, amorphous
openings
pan
Guggenheim Museum
aboveground through
filtered
sculpture garden, as
Western
Hcllingham.
of felt,
has been
ashington University
ork
in
ot Art.
Lippard.
Dutton, 197
),
[bid
Morris
Some Notes on
the Motivated,"
An
the
Phenomenology
ol
>rill970),p|
fr^,
of a
bed
1967
original.
Steam,
wood,
Bellingham.
STEAM 225
THREADWASTE,
1968
asphalt.
oi
number
tadwaste, rise a
bulk of
the-
rectangular double-sided
of
Such
positioning
mirrors
oi
the "landscape
in
and
first
Art,
in
accend
ornell
in
oil
museum
gave the
gallery
compose
co
isitt
should be
it
pla< ed.
Sculpture, Pari
had begun
yond
B<
[:
argue
to
anthropomorphism
oi
addressed the
Minimalism
abstrai
held
isu.il
or
art," in
its<
rom
"landscape modi
figurative
hroughoui tins
whn
h was
(no
10
mounted
in his
and exhibit! d
ii
bases
'ir.il
to
'
oi
studio Ian
mode
"conditions
in
Modernist
ol a
differentiated
hren/we
ie.
"scanning, syncretistic, or
reared bj che "purposeful
<
readings in terms oi
holistii
Morris,
foi
new
ol
In
Objects,"
id
sp<
ifii
ii
i"'i
.ii
I
isti
in
'
paralli
u>
ii
so imi. h
Morri
wroi
.i
York
oi
he-
oi
ntiated" vision
ii
Morri
[.
1968
in
the
i^
no 8
iIh
the
ai
-i
Threadwaste),
de-diffi
Morns
essay,
breadu
at
vision," a term
gescali
[sit
detachmem from
ondition
"i
II
experiencing
rhis concept
Tins,
ol
hi
slnli ili.u
body,
oi
"opticalicj
us comparison
elii
own
the perceiver s
ol
modedest ribed by
Pan
emphasizes
ulpture,
S<
(a
itsell
how
-no mattet
whii h
thinking
oi
he inevitabl(
'
ol
appeared, Morns
)bjei ts"
<
"Notes on
"Notes on
predominate horizontalitj
tin
then
he-
size
tht piece
map,
Moms
asking that
him be marked
co
this as a
si iii
stafl instrut
ol
le
Earth
in
oi
Salt
.../
included
co
By 1969, when
Museum
Museum
his
Trails 1969),
\iirrm
\\:>.\
recalls
1.
is
CO
.i
m<
(ibid
Donald Judd's
taphi
I)
Sp
ssa)
if
ipleti
Prel
(
his usi oi
iii.
>
ii
Va
and
glass
(Scatt,
hi
fi
Ii
and
l)
his inten
in
;i
ol
ulpcural
transformin
form
and,
to
to perci ptual
finall)
field,
II'
from
Nova
iljfai
Fii
ol
Is
yond
writes
rhi
ruff
ing
pai
foi
tii
ulai
I-
Part
.i
ol plastii
\i
anvni
I..U-
in
New
strands
J lfl
ol
.i
is
.i.
its
oloi
is
fell
i
varii gati
Li..
indi finabli
ppc
Morris, quoted in
(
'i
..in.
II
Moi
'..I
I.
mi. civ
ih
ied oui ol
ulptun
I'.
.
in
.il
ompo
Mai
li
ic (Ii hai a
libii
s.
mpi
..
ion
ii.
-ii
ks
I'll.,
York, while in Lo
Part 4,"
che
rh
mcains so manj
olli
\i.
I
objcci
methods of produi
rhn adwa
Scotia
mta
perception
fell
icgrou th ol both
breadwastt
id
i
i
19'
"i
into
Felt,
264 pieces,
inch
Canada, Ottawa.
following two pages: 104. Untitled (Threadwaste). 1968.
of
Modern
Art,
felt,
New
overall
York,
Johnson.
THREAP.'
2 2 7
DIRT, 1968
Dwan
As pare of the
New
York
Other works
in tin-
,m installation hrst
Munich
in
(it
shown
now permanently
is
New York
as
at
installed b) the
\!
HI A
hat
with industrial
aluminum,
brass,
various metals
of
felt,
and scraps
strips
and
^inc.
Morris's desire to
in a
work the
rris,
i
Model 1966,
The
smoothK fashioned
consisted ot a
mound,
ringlike
no. HI
art.
that
2
shift
monumental
projei
ts,
both
pi
ials; tools,
ni an.
ephemeral, was
i.
Hun
hi
Indi
in
a n
Mob
ol a
iid
distal
ij
oi
th mal
honi
I
cra< tor,
pennon
ring
work by bng
in
Ii
I'"
to
be shown
hav<
Laszl6
inj
9 M
phon
oi
work
mi ludii
handwork.
The
final
ii
then-emergent idiom
work outdoors
Morns ontinued
Mi'
.>
to
in Dirt,
<
rmani
aesthi
nth
to
ale thai
sc
Minimalism,
strongly held
ot his
Heiier,
Mortis
nlour
<
Ii
traced
'*
,s
Beyond Object
kt
Rk
urated by
wh
earthworks
ban
wen de
nnis
Oppenheim, Smithson,
87-102.
Thomas
Whin Museum
Morns
articulated in his essay "Anti Form." The materials
ot whi< h Dirt was made did not aggregate into
a new form, an indication ot a refusal by the artist to
artists creating
(sprin
had underpinned
Sei
ems
rs (
a in.
Among the
ans Haw ki
ion oi Ohrt
i)
icample, nos
on Sculpture, Pan
\i K
Mori
-
in l-'ranklin,
DallasFort Worth
copper,
steel,
Heizer's
ol
l.i.i\ iti
Art
in
I'
was shown
<
orn<
II
in
the exhibition
University
Andrew
arti
)i<
Art,
k son
inches (50.8
Worth
x
61
of a
Airport).
1966
1967
version: acrylic.
20
24
and
felt,
overall
dimensions variable.
DIRT 23
L969, no.
and their
without coming
enough
project's duration,
among them
muslin, electric
of dirt and
clay,
Morns
bj
emphasis on
relate to the
that
da)
Continuous Pro/at in
oj the
throwing
aimlessly
it
u.
oj
be
dom
with
oj
At other times he
al (ev<
thin
Morns
wrote-
Mai
Phero
ned by
ol
pla< ing
mo
an
maj
great deal
rpretivi
omething
..I
Taking as
itii
K (Ik end ot
um<
doi
ai
h da)
hi
re-an
)i
m:
ui
ihing tin
'in
Do.,
I.
sal
replai
ment
I.
chat
83 4
rt
.i
in
ui tin
ol
it
worl
ph
i.i
ii
ommi no d
work
st Ii
to Lucj
and
with
hod
.>
1'
I. ii
processes in
cht
laboi ol
al
matt
chi
rial
lemt ms.
willingness
inn
foi
graphii
cransitivi
ful
coward
i
kind
ol
"
played
.1
and mutability,
tt
chi
It
is
ol
also
warehoust an similar to
us
al
it
fusal to di
own
ordi d Ins
photograph
si
vi
co
th<
list
ot
ulptun
\<
last
a
ol
Morris's
Indeed, on che
chi
ing Ins
In
a final
ompli
capi
\m in mi i"
is
ol
rform
)in
pan
'i
all
ing
in
is
dragging,
lifting,
were
rials
ntl)
ippard that
pe< uliai
worl
photograph has
physii
cht
u.
'
pur|
>
"i In
inn' tion as
ii
seen that
bi
nd disat ranging
'
maj
it
Marcel
ol
<
Ins
.lis,
that
maj be systematized
art
ui
tin
Stella),
and
"i tins pi
in' ni.ii
'69), a pieci
mi
Project Alti
photographs,
|>ui| os(
anvas,
a point ol
how
piling,
hanging
pist outsidi
.it
I"
in all, wi
vail,
I
niuousK
Prank
whit h Morris
verj
of the- historj of
phed Continuous
.1
the
tails
regularized or "systematic"
ot
Is
up rums
L970 in
iii
in.-
out
n dancelike)
it
elsewhere
to
is
of
painting
aiul
form
working
ol
physii
50 lb cans
around.
made
it
IK also
investigations ol
calls
shit, et<
Began
it.
and
."
moving
verj
"a
tt.
nth
<
First
coj
times,
at
acknowledges
rentiated
difft
mostlj
something reminiscent
and forming,
Morns
on the
building,
of
which
or structure
the space,
in
activities, in
"a
site replete
much
maintained
of
One of the
clear or transparent.
to give too
is
same time."
at the
Projei
all
threadwaste,
felt,
lights,
not at
is
In
up
set
is
artificiality,
things they do
to rest in
There
sign.
1969
daj
imp
ol
artist
ol cht
deems
installation he
he
last
it!
dangling
arrangement
in front of the
of earlier
1969
Own Making
Sound of Its
(1961, no.
11),
we
sound of
its
plastic, felt,
are
wood, threadwaste,
electric lights,
photographs, and
at the
Leo
Castelli
ordering.
the
floor.
The
uncomposed
The
of anti-illusionism.
Minimalism, and
its
processes of random,
its
exploration of
")
to
and system.
1.
the History
of Things
fot
At one point
in his |ournal,
(New Yotk:
though
[I]
had revealed
my methods
of masturbation." Elsewhere,
own
("for the brute dirt"), that "perhaps the fecal quality of the
mud
revolt [him]
"bumpy,
mote than
[he] admit[s]."
He
also
nausea
lumps of
mentions
emerging when he
pours latex over one of the platforms covered with material (Morris,
I.
6. Ibid.
7
.
Beyond
)b|ci r.
Ari/on/m ~
Seventies
(New
New Avant-Gardt:
Art of the
matk, to systematize."
r,
OBSERVATORY, 1971-77
Morns began
In 1965.
making an outdoor
to think of
a structure, influenced
"observatory,
by Stonehenge,
an international sculpture
'71,
Morns
first
flatlands ot [jmuiden.
The
was
blocks,
and
ot earth,
timber, granite
steel in the
The
wooden
lined in vertical
openings, was
kind
ot
dyke, or
embankment,
i.ited
moatlike expanse.
The channel
open V composed
ot
two nine-foot-square
two remaining
steel plates.
wedged
<>t
>l
mound
projected
itseli
"i
t<
slot
equinoxes.
tall
Two
its
ot
windows"
in
inner
ttorj
The
ij
plair
ast
rm inn
,i
human
and
is a
iisiii^
his
pn\
rn h
hosen
tli
r<
as th<
ilei'i
torj
model
i.i
[i
.J
nun
inlili in nt
us
niip.iss
with
and
historical
kiuiw ledge
.1
"I
in
own
i.t
p. ist
si
men
historic
ulptural obj<
"t
marking
.i
for
to
sue with an
in his essaj
Uigned
Su
ii
,
fundi
lill.it
1
1
I
H.1H
I"
an haeology
conceptual underpinnings
human
tune.
ol
l>\
>l
asons."
si
passagi
marki
is
.in.l
marking the
is
tion ol physii al
imisness:
Morris has
history,
wood, granite,
steel,
wood, granite,
steel,
The Netherlands.
OBSERVATORY 239
RUBBINGS, 1972
matter, form
itself
given material.
oi a
tnd Holofernei
1456), in
encouraged
an indexical
to Leave
trace
way
make
to
[EECJ
example, in Self-Portrait
mark"
(as, for
The group
Morns executed
Rubbings that
of
in
oi this
Through
much
with
1.
Rubbin
Passageway
L96l
<
a single gesture.
Laid over
example
The
lighter fluid)
1(1959
archaeology
to invent th<
of his
ms<
"in ol th<
lv< s
mral features
>.i
in
paper
iIk
ol
bei
oming
onnei tion
.11
hi
anhandli
'I
hi ni
te<
baseboard
hnique
into
<l
Morris
rding
\<
At thos< points wl
on u ion
foi
is
i.
substituted
asidi
i"i
in- t<
woi Id
hi iln
Hid oi
r<
ol
the -'in
>i
all
has
at cisi
thi
ired in veinliki
surfai
the weight
ontrolli d
physical 1)
hose
,l\
mala
K4I)
earliei
et
1 1
bj
pped
In these
example
pi iio.l (for
it
interesting to
is
>
ol
number of strokes
himself an arbitrarj
composing
in the notion ol
hand
artists
and ex pi u
inn
itl\
n pi
ii
iih
1
re
madi
i.i
u a
task
the simple
l>\
thi
it
hallenge
to an uninventive,
I
to appl) (for
clearlj privilegt
Ilu
monotonous,
i.uln
scheme ol
limited
art
Lai
I.
ol
I.
deformed
Mori
foi ilu
'
(April 1970),
s,
in
Motivated
.ii,
p|
rhc rubbii
liercfoi
ell
>\ isibli
of until led
it >
\<
n hile
l>n\
troki
ikec ol
>ii
it
imposition
voids traditional
\ much
inches
ases from
ch
hand, this
the proa
.i
sti
no,
poini
>
<
iiini
mad<
previous
thi
gress into
Combining with
control
example,
(for
in Light ol
automating composition.
"I ilu
making a work of an
hand' homolo
relief,
lo\i
nun 1962
set
and world
irtisi
wainscoting and
membran
a resonating
offi
\< w Y>rk
<>t
so
consider
mi
Morris's
surfai
si
Rubbing thus
for
><
ill'
prim
hum
pi
r<
ol Ins
a sei tion
iIm
10'
artist.
.>
forms
work environment
on brown paper, 14
Ink
h//t>>/<>
of
in
in his IX/utt
'
.tries or an Intec
the
i'vm.
for pulling
appear
Max
or in the
In
twentieth-century art
in
.
in
c-
kind
work
of
1973.
recall
concentration on
its
campaign
their performative,
larger
which began
series,
DVCI ilu
ill
<
drawi
\l
umi (Minnrapolii
lini.iv
hi.
tram
0pilalism
nivenity of Minnesota Pn
it,
198
'
li\
Bi ion
a x
35
'
inches (63.8
91.1 cm)
INMis
84
S4414
ll'illhlfl
fiberglass paper.
arti
'
=sr*H
113. Untitled (Rubbing), 1972. Graphite on fiberglass paper,
28'/s x 36 inches (73.3 x 91.4 cm). Collection of the artist.
RUBBINGS 843
sec of
-is's first
ongoing
drawn with
series
that
oil,
but viscous
Some
medium
same page.
place within
tive, a
meshing
it
gear
to
Merleau-Fonty meant to
for
which
it
back irremediably
sheet (dividing
and
It is
it.
body's
his
it
is
hidden from
on
and with
density,
in
mixed
with plate
own
an
ot
was made
means
occasioned by
its
The
to take.
to the object,
With
closed,
yi
bt
horizontal
left
and
rubs
and
hand v.
'Unhands
below.
And
In
making
<
differential
his feet,
ither
rlu-
own
Ins
what
tin-
<>t
Ins
ould be
body-
the artists
head
.is
oppost
>1
ph(
nom<
in
and
ted i"
light
.in
and
i>t
In m.ikuig
s,
inn. tion
.1
th of ambient spai e
movi mm nts
tht
i\^
un
lattii
iceived as
i
.
.'.
world
ol
m
i
of]
am.
il
aspet
ol
interface
tluii
meshing
<>t
ol
In. in
,i
>rt
undt rstood as
obji
<
geomi
arisii
ith
is
it
losed eyes,
is
i\c
inner horizon"
the body's
tht external
between externa]
graphite reading
what
medium
is
with m<
(lit
density, a
tor
is
from us world,
Tins
w hat Merleau-
clear
the night
ontai
are
y.
tables, chairs,
spat
tht
bl.uk velvet
less
as a tract
ot
ol
the
powdered
imprint
ol
the hands'
iim
tht
li
drawing
toui
artist's
hands
wo
I
md
.i
Ml.,.
I.
Ill
fourth
tht
spatial it
'
'\
from
transparent
.-
an also proje<
-iii.l
hidi
different
iew
with
.i
happens
is
but
"a spatialit)
ot thi
on
tin
are essciit
ten
volves
to
-.nil (In-
xample,
usrli in
try, ol tin
own
so
Font) called
symmt
bilateral
" gravity
.i
and
trees,
nds.
regular, geometric
as the meanings
dependent upon, or
now defined
in
'nation error:
of sense,
at the start
\t the
tl>:
it
hum
estimated distance
whicl.
it is
like
separating
hand)
th
u w we are torced
downu
rubs
of
meaning,
ol
Pti
tion,
u.ins
olin
* -
PC**- V*
x*^
V
1f *-^*rf
46 inches (88.9
pencil on paper,
Whatcom Museum
of History
and
Art,
of Art,
Pullman.
I.I
Nil
248
24 H
46 inches (88 9
35
46 inches (88.9
Anonymous Donors.
247
ov
^
38 9 x 116
is
lion
Rosa id Krauss.
M^P^
J
w.
J
35
46 inches (88.9
of the artist.
'
LABYRINTHS, 1973-74
drawings, [f the
and painted
of
series
rirsc
form
is
modeled on
structure
static
passage through
73, nos.
11 +
elevation,
its
it is
it.
clearly legible
manner
diagonal. This
drawing, which
ot
and
called "mechanical
is
narrow curvilinear
distinct
it
Never dividing
strategy
is
more one
Ronald
he thought
nos.
ral
whic h obje<
to
(noraco,
K approaches
is
rinthi
i.
which
,isso(
i.
is.
among
hard
ii
r,
Tin
Ariadne's thread
present tense
encoded
oi
in
what Morns
ol spaCl
pattern thai
mi.
is,
In
hi
mam
nhed
si
Stark blai k
in
and
ni
labyrinth's
lias di
however, held
ilr
mi
onfini
in th<
re
Minotaui and
rli
trapped
atcgoric a
all
Patri< k Ireland,
th<
oi
ed phobia
lly,
and
them
stm
mythical narratives
tie
an
am
in part,
forms, taki n up
k, Ril
it
set tional,
and triangular
ir< ul.ir.
as
and n
nsion with
ol
black line
ground maj be
inous
<
..
<ilptiir.il
IS
'In
WO
pl\
no
In
to
in
it
on
si
..
rural
,;
'
at
the
trinthi hi
ttrui
(1974
no
1960s,
l\
ret all
of th
,\n in Philadelphia
all
In.
hasm
idistinctlj an hiti
and
th<
M..II, foi
the white
In
hit!
stron
a
t<
Madi
in
"i
pan
oi chi
ichibition
of Contemporarj
plywood and Masonite,
in a M in.
(May 1981
I,
19,
no "
pp 60 68
I
hi
its
body
Morris,
(insistent
drawing
ts
other
machine production,
tor
in the 1960s, as
Care
In the
elements destined
to describe
its
sometimes
is
which drew
1),
1961, no.
'0
Bl
(9 14
m) diameter
Collection.
LABVRINIHs 831
42
60 inches (106.7
Contemporam de
HftH
lie
II
I'
II
'
I
Ink
on paper,
Picardie, Amiens.
d'Art
42
60 inches (106.7
Charles Gilman
Ink
on paper,
Jr.
LABYRINTHS 853
on paper, 42
60 inches (106.7
60 inches (106.7
York.
itn a
New
60 inches (106
Italy.
7 x
LABI
2 55
VOICE, 1974
at the
New
That
experience.
piece,
(no
ice
126), consisted
of
sound
built in
The
ol a bulldozer
ended. Beneath
it
third section
customary understanding
from speaker
performed
a critique of the
and resident
\isu.il
The sound
of anti-form.
employed
rhetoric
of
in the piece
The kind
by line counterclockwise
line
to speaker,
counterpoint to
subordinate tr.uk
water sounds,
ol
apparent in this
is
"Cold Oracle,"
tracks, a concatenation
ol ICC lines
was
voi
ret less.
Our language
our authority.
is
Lofty.
photograph
mote.
/<i
And if incomprehensible.
A necessary insurance.
hybrid
a
Tin
Must
les
Morns
and on<
thre<
nun
ided
li\
four
Galusha, William
nous randomlj
Dunham, Jai
hard
Rii
'
hall
s<
Pritz,
splii
k Firestone,
harles Randall,
Gen<
Mark
Milium
11m
intelligible; the
was heard
.is
ond, playi d
at a
"The
whom
vi n<
nli null'
'I
was broadi
fout malt
ij
the poster
one
Hi- nil
It.
with
si
point ol the
Mini, iln
with those on
'I
ai
Tl
tion,
than elevated,
In
r.u
malt
mi mis with
iii
nun was
n
fi
ok
-.
iiiiiln
iii
..!
subordinatt
exhibition
In
."
uti
<
Hi,
Mortis showed
1449
tivel)
'
"
thi
Si
'ii.
ii
In
Nt
.i
-ni'l
ork
was Morris's
thi
dominant
laborated by
pronouns
rring to
mi. in.
md
itsi
'
23
'
inches (93.3
ot
the aitr.t
126. Voice
rolt
to eight
ol
voii e
Het
(1921)
ol
ompass
Manii Pt/",
in
th<
In y,"
ink
h ol
and Paranoia
mas* ulinit)
ol
lii
asr
In this
ir.u
subsequent viewers
Sin
tors,
from the
to
largely
ai
lear
unknown
is
rr.nl
the installation
and
is
it
the helmet
ot
lowei
ontinual drom
lection, called
first
si
imbued with
is
dome
Nevertheless,
and
ollar,
in
to refer u>
and generall)
threatening,
which
orded by
m^
this persona
The
attired in a strange
spiked
a silver
this representation
\ubjective.
-length portrait
a halt
I-' i),
manai
S&M
oi
(no.
the bearded
ol
it
as
ovi il.ipi'i
tl
I" <
fi
'I
boxes covered
Jeers (thi
1974
vei
.in>l
ii
ii
50 square
ed
in fell
tcet (15
24
).
two fout
in
(
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11
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29
ii
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6 cm) Collection
Xk,*iOk.X^LH:>SWiu>tA,i,v
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ol the
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.i>
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fafiUHif Ai*m
C They hold fast what is pressed into their hand^ turn it slowly
L
Memory is sometimes
"-7
extinguished.
fj
AA
from the remark, "Still waters run deep," that he/she should
*<^
j-
fe>)
It
,.Tiw/>rrr hi ms elf /herself./ Peo pie
'
whth green
hats and// black spec"
,".
J&)
n century.
CIO
0/ gas
2
if they had been
'
fir
i
built up specially for him/her./ He/she thought that the sun was
1
k\C
/
c
ness of his/her eyes because he/she could not see the real sun
C/P
'^
her breath is
0/
poisonous./ His/her
16
*V
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//
were,/ the bones have become thicker, have slipped down,- all his/her
25
IN
The
Spurred by an exhibition
Internally, they
They
timber installation
tor the
New
Castelh Gallery,
March
York, in
Leo
at the
But
1979.
Morris's
ot
It
own
between
a subjec
and the
(built
r<
(no. 133);
nt
him
ower."
It
through
is
..
Parades .nid
oj
maps myriad
architectural sites
an overall structure
in
ol futility,
Perpetual Construction
lm
and Dismantling
/'<
Labyrinth
oj thi
artist
repetition,
by
des< ribed
and Punish
itj
Punishment, the
diffi
spa< e external to
>
ipro
subject, to
thi
Compuls
<</
/>'
ni
way systems
it,
ot the
human
the
ot
ol
externally, they
ol
ot
Morris contrasted
..
vantage
ol
arceri
Piranesi's
Behaviour
for
Washington. D.<
\rt in
1978 Structures
the eighteenth-century
ot
Battista Piranesi's
.mm
produced
ol
Realm oftbi Carceral L978, nos. 129have both an internal and an external source.
title In thi
and
the condition
would
winks
later
1989 and
ill
do
to
Morns
itself, as
labyrinth
thi
ol
endeavor
number
in a
drawings trom
ol
encaustit
1990
his
power both
members
them
ol
so
ol
their uniqueness by
foum
by [en
my
.in
ommanding
aull
was
at
li
hospital war.
ighti
nth
m map
i.
Is,
mii
..
.mi.
ipatial
11
.11
ind disciplinary
physii
I.
1111
al
lories,
heli ss a vision
to
apabli ol
lance.
as<
I
w.ii. h,
nd even
teli
nun
plj
pheno
>o in
by
all ai
ol
ii
nitor, one's
e ol
the panoptical
ass
ii
it
lit,
Roman an
dia iplim
hitei tural
axonometrii plans
<
though .inn
which
arceri,
em
bi
to a cool
and luminous
ni. in
lim
that
Tins
losed in them.
theatrical disposition
thi
aught
way
rrible, gives
is
spaces,
tions ol those
in
in
depersonalization
ol
inflei ted,
dominates Morris's
ompositions
raced
ulptun bj
'.iv
id
Ribinow
by Romild \
itch,
..-
as in
1;
ird
in.
ilsci
nd George
..
vi,
Blind
luded
1 rakas
Maui
ith
n lation to
isiot
Piranesi's
oppression,
ii
.I...
ii
maj
i
not
modern
wrought
v.
even chough
mon
hiarosi uro,
adopted from
si
ton ol
hit
of thi
circuit
trating di
thi
urn
thi
pi ni
produce, ultimately,
<
tied to the
still
ion,
re
availabli
the
11.
transformation,
nun
detail, the
that Pi rani
the
ni
mem
rangi
ol co<
ol
IS
rums
nsions
c<
Other
in.
lassn
onsummate
nturj
supei
.1
131),
In
pains
tral
cral
tion
which
ol
Bi
wan htowi
bin
tmple
>
iplining
>>r .lis.
displeasurable
peculiar to
in
ializing
norm."
then
it
so<
reati
and deprive
as "individuals"
ietj
<
Mi.
inly
In
UanShi
In this
Power,
Panel
i,
19
Pwiilh
/>//, .in.!
Iwi
in
/'
(New Yo
I
B
ilso,
ed.
Colin
Ion
(New
Yorl
lull
IN
THE
THE
WARDERS ABOVE,
THE
INMATES
SEPARATE
WALKWAYS
BELOW
Ink
on paper, 33
'
44
IN
'
inches
New
York.
>.
(45
facing page
131
or
inches
Penuailon
EL
Of
'-I
-AO^lKAi
Sf.Uil
m\
IN
THE
REALM OF
THE
CARCERAL
STOCKADE
THE
45
33
inches (114.3
Ink
on paper,
Ink
on paper, 45
33
'
inches
Gallery, Canberra.
IN
MIRRORS INSTALLATIONS,
1977
At
(no. 134).
its
library.
of reflections underscored
spatial
Four pairs
ol
As the space
a double-sided pair.
in a
denying
location.
reflection,
temporal event,
as a
identifications,
The mirrored
ai
.is
boundary
back on
itself.
'ntitled
mirror
It
sw
pie< es,
and Pine
oi tins
Williams
image world,
to the
Portland Min
'
1961, no.
relates
more enclosed
h as Mirrored Cubi
with Mirron
Porte//
may
recursive
\Airrot
10).
omplex Untitled
Lingular mirrors
rec
tr.iu
che
Shaped runni
Oi
wooden beams
in
.i
[posed oi
tin
I"
rt
ati
in
Moms
Ferranct Gallery,
Rome;
i
to en
room was
a tin
-it'
che
illi
tai
>
in .in installation
no
the
.1
in
in
19
it,
black
front of foui
spat e oi the
single lineal
ed bj
eiv<
A IK tsandro
mirroi
ai
'i
on coi n
the
pattern
virtu. il
Inn.:'
Cl
sir.
the four
was a diamond
at h poini oi cht
room
two abutting timbers, mei
ch<
oi
modest wooden
in
of eat h oi
enter
ai
the
84
96 inches (213.4
243.8 cm)
Instillation
Museum
ol Art.
Wilhamstown.
(30.5
96 inches (182.9
<
in
In
243.8 cm),
Installation It the
it
Mass
27a
of the artist.
CURVED MIRRORS,
1978
Morris's
to his
*-W*4
The
the
human
the
body, since
symmetry, and
the viewers
is
it
stability that
is
own wholeness,
eroded by
his or her
The
late-
of real
-l
of'
)""(>s
"image-world"
mimicking the
of reflective illusion,
Hanks
car tenders,
of
is
the
of
of
geometries to be experienced
dimensions
lie
ot
and
its
attendant
social
work
ol Morris's
in
One
Stages.
of
heavy timbers,
from 16
stills
mm
black-and-white film.
Untitled
fur Internationale
laws, tlu
atoptrit
onsiderations
means
In
huge, reflective
Brant usi-like
of the
si
Brant
of
of
freestanding
before the
fall
like a
image
usi's
permutations
ol
Kunst, Aachen,
forms and
Germany.
in
tivc
in
(no.
it.
the mirror
xploitation of
surfaces
reflec ti\c
single
In
other
"Mu
bei
Is
hold
ai
form
it ii
kind
al
distant
mat hine
oi
i
to
produce
curved mirrors
M.i. ii.
Minimal ism
1
Expanded
Field,"
argumi
chat with
nisi
nun
.i
<
ssa\
use
Constructed
"Sculpture
in
in
the
the
sweeping
.n^\.
indeed,
a strut
tural
hanj
in
in
I.I
..I
isolate
I'M.
.
H74
ni
ol
In Untitled (Fo\
ol
thus
m\^\
M In
.1.
1.
1
autonomous
si
ulptural obji
<
ol
Modernist
an Inn
also op(
expanded
id
139. Untitled
.is
a structuralist
New
high.
York.
field,"
version oi
Klein group,
in
the
The
R.
this
pra
artis tii
Mon
I
no
ih. u tin
ur\cd mirrors
ourse,
l|
in
Ik
in
in
ll 11
tion
10 an:
ol
fo(
used on
'
t,
t'ia\
here
lOlo
ii
u\
disruption
it is tl
li.il
nu.
ii
human
skeletons, 15 x
K assumes
of a newly "nomadic"
of Fine Arts,
Houston,
strips,
Gift of
high.
Rosalind Krauss.
tahhshed by
rip tion
large, floor-l
thi
I)
Museum
K.).
Plexiglas mirrors,
bloc ks that
and square,
ihi
ii
version
ol
Ml
30
13
feet (4.57 x
9.14
3.96 m)
\
*r<
%
7
./
.MCI
HYDROCALS, 1982-84
In
Januan
m \
Gallery
Morns displayed
body fragments
bas-reliefs of
group of Hydrocal
ac die
Sonnabend
P<ili[>hili. a
Yot\i.Hypm
and
and
alii
which burnt
Iten fparks
bleu
holt
and relocating
pouring
condition
work, focused
Hydrocals
shallow melange
ol fingers,
bones, teeth,
redolent ot
is
seem
an overriding sense
to
the Hydrocal
drawings (pp
Instead ol the
Hand and
instance.
Tot \1<>LI\
ot
The
tol
lydrocals
with
two other
developed use
sonic
frame.
in
terms
ol a
general
"<
frames,
still
freight.
The
painted, massive
Morris either
made
group
as a
ol
n.iiiH
ins
two
within small
rei
tangular openings on
6 Mind
as
tli
in size
SI. iii
trom
5-
151
its
16).
hut
.vcre replai
ed In
ol
World War
.'
It is
nun
at (he
to explore
In
86, no
images
push
limate
level ol structure
of content.
level
th<
Wartyr (1986,
I46)and77><
hnolog)
si
ms
io be
now ledges
ol
pn paring
for
fundamental^
hi
global catastrophe.
in
reached h
.'
Iii
i.
ul.irU sin.
IS
ii
miles
[hi
work
ilu
iiisin
impossibilii
listorii
philosophii
In
thi uttai k
ism
.il
-iii.i
It
a populate
.mi
ol
I
Mi
nd.
his
dim Hon
>,/.
in the
bom
to
to
lion ol the
ol
II
re lice
d bod)
re
imagery proclaims at
ale
unbridle d
ot
sell
si
the une an
no.
isions ol
from
drawn
I'/*) ),
swirls
doubling by mirror
out
highl)
its
like
ol
brought
the ornate
ot
the
is
treatment
Moms
forinstan
first
built
irries.
what
nun.
lun.it:
oi
issue ol the
medium
ol the
these, in
fashioned the
conditions
like
ol the visual
Baroque .wd
to the
memento
the
ot
The
possibilities
more
it
work
mixing
stylistic
I9i
in a
art
specific,
depends on the
that here
it,
the
own
autonomous
itsell
critique,
Hearing's
on
in
or "proper," to
That
in
it
ot
..
Chicago P
nil
wfjtfrrjL
iu
r.T
63 inches
Gallery, Boston.
HYDROCALS 283
on paper, 33
8S4
mches (84.5
130.5 cm).
x 73'/? x
15 inches (161.3
New
186.7
38.1 cm).
York.
HYP
885
145
The Martyr
facing page
J.
Mil
'
livei
Hollmann
16
Colle<
Acrylic, lead,
29 inches (231
ti
294.6
HYD!
287
FIRESTORMS, 1983
concurrently a series
and
no. \a2)
of
Morns exhibited
1983,
may be
a series
seen as having
the Carcerali
itself in
1978, pp.
<
mjornado
annihilation, as
cltl
1981
Shroudi 1981
and
i,
Rt
which foreboding
in
I,
wrought
World War
the end of
at
bombings
is
the
I)
Prudentius,
n,
written
in
which the
evil
Made
mil's.
with the
to deal
ot
name
bj
attempt
the devastation
These draw
II.
the
in
century
fifth
good and
figures of
humanity.)
of
by joining sheets
of
some measuring
nding the
much
as
hnique used
te<
as eight b) sixteen
Blind
in the-
fe<
t.
made with
wasl
mis
s
layers of pulverized
left
through rubbing
swirl
1818
di
oln
ii.
m
hi
ai
in
through the
as
level of
prion
been
ordingly,
Raft
bi
Medusa
o) thi
of
hi
.1
ima
with Us
ih.ui
of thi
motional obsessivi
'
manmade
natural or
of
form
h. in. Hi
Ai
additivi
'I
inr. in
able lo
II
Modi
ricault's
tin
to
<
).
traces of
faintly visibli
as w<
rm
[
151")
mk
oal,
ollageliki
tion to all
behind
negative spaci
in
nan
hite,
Minn
I. ii
Su< h a
1
in
thai the
Insure
is
and uiuln
nir.iin.
an work
up and n
k of
mannei
motion
belli
.1
of fixation,
of
unpleasurabli
1
mutation,
I'tni
in
Bi
yond
tin
Pit
.1
to
laralli
iun
epeai thai
I
by
.111111.
is
Ink,
254 cm)
FIRESTORMS
89
Ink,
charcoal, grai
inches
Hi.-
Museum
Uewhouse,
li
ol
Modem
An,
W(
a 9
INVESTIGATIONS, 1990
It
nos. 149-51)
that of photomontage
is
additive assemblage
wide variety
is
a loosely
media sources
which
ot
Dw
<>t
photographic source
monumental
in his
195960.
no series ot
technique, the
In this
is
newspaper or magazine
from
after
which
is
graphic instrument
rubbed over
is
fluid,
it
so
drawing paper
plated beneath
The
it.
continuous surface
of the
drawing, simultaneously
but
in
drawing)
of
photograph)
reproduction (the
is itsell
media soun
indues
level
imitation
been
to
fife<
1 1
many
so
whi< h there
lor
"handmai
ing the
I"
no original
is
hnology, one
te<
in
up questions
entii
nun,
nine between us
rum
iimulai
thi
multiple
iple of a
copy
is
it
to thai original-
hand
first-
had
Strang*
the simulai
of
of a
It
whu
stylistic
the
It
-order imitation
and the
es
of
in
whi< h the
itselt
A combination
1
1
in In.
Imi'
stran
ti
il
with
<
In
not inn of
li
lean in:'
.1-.
si
tin
fragments
mii.iI
ti
inn
.isi
applil ation of
meaning
is
timulai
as rh<
no rule)
ral
xhibition
And
the)
form
ol "a
seem
onditic
llln llln
Bui
iln
ki
I.
mi. mi
.1
Will
lln
>.
whii h
I'l
149. investigations
si
l]
ni
ni is
so in
ii
18
New
* .
i.
ni
1H inches
Yotk.
lislrin
puts
si
Laci
pain
iphite on vellum,
il
(45
to
mon pn
imi thing
(he report:
ol life" (foi
to be testing the
nsi
IH inches
from
'It" the
New
Yorl
"
"M
p^jtH TO fM
:*A
NEJfHEJCkNft 8
,
- V
StotOTfc
-^3
--
INVESTICATI
IN
295
'
'
BLIND TIME
The
IV
1991 set of J
departs
gs
example, pp. 2
from
many
in
imagery
int
imagined
frequently
is
form
working, as always
remembered" by Morris,
two directions
straightforward description
it
own words
(see
is
<
he
made
given draw
"my
characterized by
my
on\ u tion
is
it
pie, to the
'61,
no
insult u
ling
foi
n<
of
Sound oj
tht
Its
Ou
own
bs
an
a<
most accounts
ol
ling
making
hat
Da> idson
intention
had
in
har.u
<
I.,
ii.
m on
tad finding
killii
drylj addi d
uld
killed hit
>im mi/)
ill
kill
tlly
his father,
to
in
is
r<
efficacious
man's mot
him
fathi
Sucl
tu
from the
/\
bai
kground
intention behind
hor,
>Ii\ni, al
drawing
<>i
its
it,
th<
and
is
hat
do
draw
ti
pur|
itht
i<
the
to
Samuel
Iding to an obsessive
form
it
<
at ol
fensi
ver
>
Morris
like
In this
act
al
)a> idson's
asons
tit
ol
he
account of the
oming
tht
to an
end
.m action
situation,
tovid
if thi
And even
certain
./
it's
ibout
wa) ma)
being
an
not enough:
./
caust
that
tin cast
ti.
in my, tht
In
reasons
this
\.
s.
,.il,
Ixford
Inivi rait)
{her
result
tins positii
onl)
an act, andyet
for
ting in
othei
hi
as th
ol
chi
HIiii.I I'ihk
of
was
hi
lid
lit
felt
to find
put forward
asons explain
old
// his
wanting
or
ruin
lm
in I ill
I illt, I
a range of reasons,
of
with
'/
(as hi
could not
Giving
"Sui h reasons
impossibiiitj ol
raised
<
of
\t
\url)
./
thi
rationalizations
'
l\
it
of
a line,
of
Blind Timt
him
of
interest Ik
ett's
ii
ason
it
task
ailed the
new way
Box with
11). C in
r<
shows the
ist
work with
like the
a
obvious
in
to
meaning, and
rid
felt
skepticism
all
undertaken
"reasons,
ii
win the
reasons" tor
issttl tin
why"
documentary
its
In Ins
omments
oi
begins to infect
juxtaposed to Morris's
pj
two
is
in
Morris's
often added.
is
apexes
lines] at their
the tasks
of
memory
project a specific
to
noncmotiM.
accounts
an
).
since
lit.
this
as
literal truth.
addition to the
First, in
ot
metaphor (such
in
in this series,
work
to
drawing, or how
of
dark fingerprints
ol
Sainte-Victoire as
expanded
smoky
letting a
thought to enter
l\
"smoke
wanting
149). In
1991
how an
and sharm
Ibi
IV: Ot
IV
Working blindfolded while estimating the lapsed time, the hands begin
the lower right corner and
hammer upward
is
approached while
is
made
is
to repeat the
-2 44
50 inches (96.5
in
is
of the artist.
same
in
does not
thing'
Analogously, 'Jones bought his wife a leopard and Smith did the
thing'
need not
made
explicit,
Jones bought
Recurrence
another
by the context
his wife, or did
may be no more
(did
Smith buy
same
suggested,
if
same leopard
etc.?)
"Donald Davidson
BL N
I
8 97
',*
IV
attempt
angle
'
^7"
the centi
attempt to
quadrant. Then
left
is
.'ige.
to )Oin the
50 inches (96.5
"A person
may have
ol the artist
Time estimation
on,
in
And even
a certain
mg
if
in
the
to act
were
his
In
thai
reasons
it
So reasons
this is not
HBN
i.
for
foi
ti
without
performing
tin]
First
IV
laid
in
Graphite on paper, 38
tried again
on the
right.
Time estimation
crashed
steppe
in
in
felt
snowstorm somewhere
in
in
1944
warmth
in
+20"
strict
in
airfield at the
Russian front.
sense
sentence
12 coma-like days
Joseph Beuys,
for the
a corporal
tail
of the artist.
hour
is
crash
in
pilot,
who wrapped
his
error:
left
left.
50 inches (96.5
course
with
of
the
in
meaning) but
to tell a
lie
a he
and
in
and using
how
it
metaphor
to
(in
is
any
to
make
metaphor
are, of
do not interfere
one
acting, assertion
is
excluded. Metaphor
is
BLIND TIME
IV
299
.:
IV
1991
'.raphite on paper,
38
50 inches (96.5
blindfoldi
come
to
Hues
il
il
rabbit. But
one toui
dm
"g as
ti
by making som>
prompts
most case
:
.iii.
ret
ognitlon o(
or
some
truth oi
i
ealing to a hid
100
the
v \:
W *#>t*i
memory
of the first
Cezanne
Kansas
City,
In
1988
embarrassment and
out.
was
filled
my
fingers
of
were
could hear
Time estimation
error:
-52"
50 inches (96.2
of the artist.
Sainte-
Cezanne sought
in
Mont
ever knew
1902-06,
If
that,
this is a
will
self
deception, overpowering
read, what
it
is
would be better,
the answer
David
must
[sic]
all
if
the question
is
when he believes
Davidson
BLIND TIM
I\
30
BIBLIOGRAPHY
AND
EXHIBITION
HISTORY
'
SELECT BIBLIOGRAPHY
ESSAYS AND STATEMENTS
BY THE ARTIST
ieJ
New
with
Yotk)
it
Yirk'
"Ant!
A B
8
1 irk) 6, no.
Ms
p.
New
>,pp
NY
Sonnabend,
<
New
07
L03
pp
I
dor
1980: Preludes
York), no. i9
Reprintedint
New
"Installation at
no.
i.
14, BO. 2
\
American Quarter." Art
W-U2.
L980), pp.
York), nos.
42
13(1984),
(April
PP-
V
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"Letter from
York)
-a
no.
6 (June
(January 1971), pp
York) 9, no. 5
Jo.),
New York
August
The Aspen
id. no
Letter to Allan
C, p. 8
10,
Henry
In
Don
Flynt,
\rt
(March 1971
Kaprow
ncinnati:
'
In
Solwa)
arl
'
p 8
>,
Prepared
.a
U-r\
bn
1987, p
mem
in.
Art in
'New
\ n
York) 81
no.
Flynt,
New
"Letters
Artists as Decoration."
'
63
i'
Artists:
lal
New
to
Letter from
and
dated
in Fro.
Bob Morris
19<
in.
Three
>
1.
53.
York),
winter 1969),
no. 8(fall
11.
se<
(Januarv 1993), p
In
r.
'Nth: Rot
Italj
elle,
rk)2,no.
The U
Ml
I':'
New
'.'/.-'.'.
'
i
id,
1966, p
Proje<
\"in on Dance
New
Orleans)
s
id,
on
s>
ruarj
Ybrl
K
lition
\ms
"
Tulani
fd
md
i'\
Yanki
Not<
In
pp
14.
i.'
1968, pp
on
s,
ulpture,
P.m
.in.l
in
Exhibition
atalogui
no
(>
Gregorj Battcock,
2
'
'
!8
Wtforum
!0
!3
tl
os Angeles)
Reprinted
Washington,
<
ollei
.hi Si
b
I
'
>
pp
<
ulptun
(Lo
^ngel
Pari
1
Work
oi
1968
msi .mi
hi
Brani u
(June 196
'>.
19
(New Vbrk)
run
iin
no
'.
Beyond Objects
no 8 (April 1969), pp
iO
>
1
<
1
vol
'
ions
1971, p|
on the Observatorj
In Sonsbeek
7,
I'l
Anihcm
i,
Minimal
in
Rei lamation
National
10
So
Battcock
N..i.
""
I
Reprinted
1966), pp
World A
'iniii in
New
l\
ulpture
1966),
Search
Johnson
<
Drama
ommission
and tymposium
Robert Morris
i
ulptun
as
ounrj Arts
King
the
ol
\( ritical Anthology, ed
\>:
15.
".
L980),
ommission
ss
Yirk). Februarj
'.
ilpture:
Noti
Ran
si
pp 87 ID-'
"Earthworks: Land Reclamation
published as
First
s
Ma
Utspnn.u
York), no
1"
J (fall
)2.
ambridgi
and Literatim
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19!
\ u
<
ows." Art
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actoria di
In
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1972), pp.
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An
(New York)
55, no.
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Exhibition catalogue.
and
Inquiry (Chicago) 19
Some Afterthoughts
York) 73
IV:
INTERVIEWS
44.
p.
Arm, statement
York: John
(New
(September 1974),
New
1968.
Art
Robert Morris, statement in (in French). Exhibition
New
Exhibition catalogue.
in
pp. 102-11.
in.
unpaginated.
1979, unpaginated.
Mouse
in
My
Is
That a
Das
With Robert
MIT
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for the
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'.
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at h.
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ot Fine Arts,
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olli
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d Rapids
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it)
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fs
bert
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enter,
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WilUamstown,
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as Robert
The
and English)
drawings
'
York
bert
Worm
as / disegni di
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ontemporanea, 198
Mauri
b)
Museum
ollege
\l
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Robert
Robert Morris.
(
l
>so
Contemporary Art.
Pennsylvania, Philadelphia
Iniversit) oi
CATALOGUE ESSAYS
AJioc
dward
I-
r>
nt
19
W.
\< n York
Galler)
elli
mem
M.ilnio Konsthall,
Sweden
tidt >n.i
in
ri
i
i
i.
ill.
it
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1988
ithibition
rie,
Saim
Bi
Draw
198
Mu
PP
s.
himmel,
).ni..ii.
Mar) Ian
*>'
|
News (New
Robert Morris."
\\rt
News (New
brochure with
rnard
l
l
>^n,
Gre) Paint,
York) 65, no
<
ysson
19
19"
n<
ai
.-,.,
's
10
Pr)
Km, IK
Blighi
'
(Novembei
19 '0),
atalogui bj
and
Baigell,
I
irt
Veu
J6
19,
(New York)
h,
1968),
'
Lead
pon
13 (Februar)
tonald B
pp
87 90
mi.
6 (summer
>8.
pp
ago, and
In.
Ni
dward
Aniin. David
Arts
tienne, Frani e
Comparison
lis
69, no
'I...
Art
"Differences
ah!
pp.
Am
um
Critical
07
Metro (Venice), no
duct ion b
[arbor A<
Kii
(April 1966),
iporar)
l
(New "York)
ne
Anderson, Laurie
1989
Indus)
Through
il/miil hi
"
IV
Genom
v.ir.i
.1
tin turn
1961
Sail)
m. in
r.uu
Mirrot
19
Robert Morris
Ugh
.
Robert Morris
In the artisi
k.
Arti riticism
(1985), pp
(New
Art News
Style:
"Robert Morris:
New
Celant,
Sculptures at Castelli."
(May
The
(New York)
Development of a
Calas, Nicolas.
(New
(Lugano)
12, no. 2
3d
James
New
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pp. 653-55.
Anna
May
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(May-June 1965),
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Critical Perspective.
1965), p. 13.
(New
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Arts Magazine
(New
Arts Magazine
(New
pp. 32-35.
(New
.
(New
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December
The
York),
March
I."
The
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Village Voice
The
(New
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May
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Burnham,
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105-43.
(New
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May
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Robert
(New
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"Los Angeles,
Dwan
(May 1966),
pp. 67-75.
(New
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41-67.
18, 1965, p. 11
Village Voice
Moderne
.
Life:
in
(New
24, 1964, p. 9-
Genre
(Chicago) 19
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(New
.
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(New York) 18, no. 2 (October 1979),
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BIBLIOGRAPHY 307
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ol the
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J,
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ol
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tuns
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'2
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IIIH
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rheCri
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89
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ot
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19
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Thi
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Gregory
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rom<
'),
\2
pp
\d
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|-
\|, h|,
(New
pp 99
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im
) tobi
15, no. 5
(January 19
.in
i
19
"
Sett
foi
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im
v no 8 (April
(<
rki
In Robtrt
1994.
World. Exhibition
tin
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\6
s.nni
Den)
or
(New
Vbrk)
( elle,
51.
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2 l )-s6.
pp
10
(.
Pan
Art.
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Somi
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mi
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ill
Don'i
at
Yvonne
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>(>>>.
(January
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9]
PP
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Stale in
oi
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(November
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JO
(New
(Lugano) 7 no.
'Feinture et 'Structuralist!
elin
''
L972,p
(New York)
\iaga im
Vbrk)
Ple>
An
Arti
The Problem
Future? Union-Made:
(1, no, 5
"Blowup
St
John
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New
pp. 274-97.
84-91
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tl
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<
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irt
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1,
pp
'
'),
109
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18
iO
0,
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SELECT EXHIBITION
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York,
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>.. April
American Art.
of
1957
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1971
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Exhibition
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J]
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New
1964
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mber
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21
22-May
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April
V wYbd
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April
13.
Belhngham. Wash
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1965
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Washington, D.C.,
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.'.
Ybrl
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May
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alif.,
LeoGa
11
fall
nzoSperone, March
nlli
telli
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Washington,
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rallery,
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Blum
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22
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D(
Drawings, 2 Films,
Max
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1974
ol
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Continuoui
Bra hure
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m<
Novi ml.,
iii
24
Mas
rallerj ol Arc,
embi
>e<
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28
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li
.1
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York, Leo
<
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fanuar) 27.
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i.
and Sonnabend
in
Progress,
September 5
earthwork, from
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tober.
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Void
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(
atalogui
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m
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fanuary 8
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d'Industrie,
ei
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il
Gallery, Labyrinths
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a,
i.
Felt Piece, 10
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I
Man
II.
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Turin, Galleria Gian
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BrOl huTC
Venice,
\'
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Man
$1
Exhibition catalogue.
iary 20-
Konrad
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Abbemuseum,
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)(
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Novi mber.
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1975
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1976
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\fork,
May
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1980
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1977
October-November.
New
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31.
II,
Robert Morris,
First
and
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15.
1981
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May
4 -June
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3 13
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to,
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DC, Corcoran
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mo
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m 1967
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Suiti, April
22.
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June
JO
rt
rris,
May 9
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harlotte Crosby
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ings
ho II.
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1993
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51
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Puerto Rico,
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AM
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bition catalogue.
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li
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When
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ril
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i
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<
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<
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<>
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Language, June.
lavin, Judd,
\IhI>iiimii
Exhibition catalogue
June 21
H in
an
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'
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ol
Art. Information,
Exhibition catalogue
April 15
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Das Di>
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in
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lei
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ted
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March 20May
22. Exhibition
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1974
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March 23 May
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Exhibition catalogue.
11
-May
Hackensack, N.J.
New
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April
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12-May
11
9-
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November 17 December
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November 2~
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'
'.
San
October
IV
D
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19
Fine Arts,
Bordeaux,
and
rj
Art,
Gallery, Objects!,
May
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5-Jul\
M.i\
Is
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beri
rris,
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York Exhibition
ol
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vior:
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hitnej
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ol
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hit
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13
American Art,
ol
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Portland
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II,
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igo
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19
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atalo
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ataioj
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ol
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Seattle, Seattle
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fur
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Brooklyn,
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Ohio, Toledo
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Fairfield
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March
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New
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Purchase,
Philadelphia, Institute of
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New
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and brochure.
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Ipi
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ftheBomh,
Mass
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Amherst. Mass.,
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New
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\...
L6June 20.
ies
Exhibition catalogue
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idt
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Ridgefield, Conn.,
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Exhibition catalogue.
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cober 16
rutin
oi
Hi
ol
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lin
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6,
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Art
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Exhibition catalogue.
April 21
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s.
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Annies
OUntJ
\.
Exhibit ion
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Man
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nl
Aspects of Publu
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in
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li
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oj Pup.
at
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of
si
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I,
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Institute,
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Downtown
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25-
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13
liiusiiiu
Organized
l
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\lnl>it urn
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ii
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York,
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Made
1989
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10.
New
March
Its
Art Conceptuel
I,
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KXHIBITION HISTORY 32
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