Sprüth Magers Lee presents ROBERT MORRIS : EARLY SCULPTURE, 21st June – 30th July 2005
American born artist Robert Morris is widely considered to be one of the main exponents and practitioners of 1960’s Minimalism. Sprueth Magers Lee is pleased to be able to bring together several of the artist’s key early works, highlighting an important period in Minimalist art history.
In 1960 Morris and his wife, choreographer and dancer Simone Forti, moved to New York and quickly became involved with the Judson Dance Theatre.
involved with the Judson Dance Theatre. Morris’ change in practice from Abstract Expressionist painting into the fields of both sculpture and dance had been directly influenced by his work as a choreographer and prop maker within the varied group of artists and performers that made up the theatre.
The sculptural work Columns (1961) is the first example of this shift and is also the earliest work in the exhibition. First appearing on stage as a surrogate dancer, the Column would move through what Morris termed to be performative and expressive positions. In the early sixties Morris would have several exhibitions in New York showing compositions of these stark architectural forms. The simple wooden construction of these pieces soon gave way to more industrially manufactured materials and processes, still maintaining Morris’ exacting and formal considerations in their aesthetic. Morris, like many other artists of the time sought to remove the imprint of technique or metier from the artwork, instead choosing to produce work that in no way bore the marks of its creator. The desired exchange between audience and artwork became pure aesthetic appreciation of form and for Morris this would become a removal of the artist himself.
IMAGES :Left to right from top :
Ring with Light,
painted wood and fibreglass and fluorescent light, two units, each 24 inches (61 cm) high, 14 inches (35.6 cm) deep, overall diameter 97 inches (246.4 cm)
Dallas Museum of Art, General Acquisitions Fund and a matching grant from the National Endowment for the Arts
1961 version: painted plywood.
1973 refabrication of a 1961 original.
1971 refabrication of a 1965 original
Plexiglas mirrors on wood, four units,
Each 21x21x21 inches, (53.3x53.3x53.3cm)
78x180 inches, (198,1x274,3)