Continuous Project Altered Daily: The Writings of Robert by Robert Morris

By Robert Morris

“Robert Morris is healthier recognized for his major contributions to minimalist sculpture and antiform paintings, in addition to for a couple of broadly influential theoretical writings on artwork. Illustrated all through, this selection of his seminal essays from the Nineteen Sixties to the Eighties addresses wide-ranging highbrow and philosophical difficulties of sculpture, elevating problems with materiality, measurement and form, anti-illusionism, and perceptual conditions.

Included are the influential ‘Notes on Sculpture’ which in 4 components rigorously articulates the transferring terrains of sculpture in the course of the Sixties, tracing its stream from the gestalt-driven unitary sorts of minimalism, via permutable items to the officially dispersed process-oriented antiform artwork that seemed later within the decade, and Morris’s landmark essay on ‘Anti Form’, which marked a departure from paintings as item. In ‘The paintings of Existence’, Morris deftly and humorously invents 3 artists, who of their circulation clear of object-art and towards the extra-visual, exhibit the bounds and prerequisites of recent sculpture. Essays of the Nineteen Seventies and Eighties exhibit Morris’s preoccupation with the huge stipulations of reminiscence and house, which have been explored in his experiments with land reclamation and land artwork, with labyrinthine environments and carceral imagery. within the later essays, Morris appears to be like at sleek art’s improvement in the United States, in response to a framework of suggestions produced through Duchamp, Pollock, and different key figures. And in a refiguration of an interview with Roger Denson, Morris acts out a refined mockery of himself and his paintings, collapsing the excessive seriousness of the meant structure right into a playful scheme.”

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Such thinking might seem to run counter to the structure of art isolated here: the accelerating tendencies toward avoiding the arbitrary would have to be identified with increased patterning. A few distinctions have to be kept in mind. Peck­ ham's term " disorientation" is descriptive of the viewer's response, not necessarily the artist's. The term involves how art is read, or its semiotic functions. \ \, '\ \ Chapter 6 I d i 82 Some Notes on the Phenomenology of Making 83 touched on to make the focus of this investigation clearer.

I " I one of stripping art down but of reconstituting art as an object. Johns established new rules to the game. These were general rules and, with the exception of Stella's work, were not to be applied further to painting. The coexistence of the image with the physical extension of the object and the a priori mode of working are descriptive of three­ dimensional objects-what they are and how they get made. Obviously, the acceptance of the art object as a constructed thing and its removal There is no question that so far as an image goes, objects removed themselves from figurative allusions.

133 . 6. Anton Ehrenzweig, The Hidden Order of Art (Berkeley and Los Angeles: Uni­ versity of California Press, 1 967), p. 220. 7. Peckham, p. 321 . 8 . D e Saussure, p . 1 23. 9. Marcel Duchamp, "The Creative Act , " Robert Lebel, Marcel Duchamp, (Paris: Trianon Press, 1 959) , p. 77 . 1 10. e. , the general silence of artists in print, the economics and who support art to be able to hear about it better than see it. ) criticism to a form of power broking. I do not wish to ignore individuals relevant to the issues here, but I want to underline the fact that the constructs presented are my own.

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