Have I Reasons

Morris Robert Morris

Description

Robert Morris, a leading figure in postwar American art, is best known as a pioneer of minimalist sculpture, process art, and earthworks. Yet Morris has resisted affiliation with any one movement or style. An extraordinarily versatile artist, he has produced dances, performance pieces, prints, paintings, drawings, and installations, working with materials including plywood, felt, dirt, aluminum, steel mesh, fiberglass, and encaustic. Throughout his career, Morris has written influential critical essays, commenting on his own work as well as that of other artists, and exploring through text many of the theoretical concerns addressed in his artwork-about perception, materiality, space, and the process of artmaking. Have I Reasons presents seventeen of Morris's essays, six of which have never been published before. Written over the past fifteen years, the essays, along with the volume's many illustrations, provide an invaluable record of the recent thought of a major American artist.The writings are arranged chronologically, beginning with "Indiana Street," a vivid autobiographical account of the artist's early years in Kansas City, Missouri. Have I Reasons includes reflections on Morris's own site-specific installations; transcripts of seminars he conducted in conjunction with exhibitions; and the textual element of The Birthday Boy, the two-screen video-and-sound piece he installed at the Galleria dell'Accademia in Florence, Italy, on the occasion of the five hundredth anniversary of Michelangelo's David. Essays range from original interpretations of Cezanne's Mont Sainte-Victoire paintings and Jasper Johns' early work to engagements with one of Morris's most significant interlocutors, the philosopher Donald Davidson. Have I Reasons conveys not only Morris's enduring deep interest in philosophy and issues of resemblance and representation but also his more recent turn toward directly addressing contemporary social and political issues such as corporate excess and preemptive belligerence.

Sujets

• USA
• États-Unis
• Sculpture

Informations

• Publié par: Duke University Press
• Date de parution: 14 mars 2008
• Nombre de lectures: 0
• EAN13: 9780822388708
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

H AV E I R E A S O N S

R O B E RT M O R R I S HAVEIREASONS

W O R K A N D W R I T I N G S , 1 9 9 3 – 2 0 0 7

Edited and with an introduction by N E N A T S O U T ï - S C H ï L L ï N G E R

D U K E U N ï V E R S ï T Y P R E S S D U R H A M A N D LO N D O N 2 0 0 8

Inroducion ©  by Nena Tsoui-Scillinger

Texs ©  Rober Morris excep “Wriing wi Davidson: Some Aterougs ater DoingBlind Time IV: Drawing wi Davidson”©  he Universiy of Cicago “Professional Rules” ©  he Universiy of Cicago “Cézanne’s Mounains” ©  he Universiy of Cicago “Size Maers” ©  he Universiy of Cicago “From a Comskian Couc: he Imperialisic Unconscious” ©  he Universiy of Cicago “hreading e Labyrin” ©  byOcober Magazine, Ld. and e Massacuses Insiue of Tecnology

he illusraions of works by Rober Morris in is volume appear wi e permission of e aris.

Fronis:Uniled (Piladelpia Labyrin), . Plywood and masonie pained gray,  fee (. m) ig,  fee (. m) diameer. he Solomon R. Guggeneim Museum, New York: Panza Collecion. Poo by Will Brown, couresy of Rober Morris.

All rigs reserved Prined in e Unied Saes of America on acid-free paper ♾ Designed by Amy Ru Bucanan Typese in Minion and Gill Sans by Tseng Informaion Sysems, Inc. Library of Congress Caaloging-in-Publicaion Daa appear on e las prined page of is book.

CONTENTS

| Lis of Illusraionsvii | Acknowledgmensxi | Inroducion . . . . . Indiana Sree () |  Wriing wi Davidson: Some Aterougs ater Doing Blind Time IV: Drawing wi Davidson () |  he Ar of Donald Davidson () |  Seam () |  Professional Rules () |  hinking Back abou Him: On e Dea of Ricard Bellamy () |  Cézanne’s Mounains () |  Size Maers () |  hreading e Labyrin () |  Solecisms of Sig: Specular Speculaions () |  hougs onegel’s Owl () |  Maybe e Angel in Dürer () |  From a Comskian Couc: he Imperialisic Unconscious () |  Toward an Opalmology of e Aeseic and an Oropedics of Seeing () |  Noes onLess an () |  he Birday Boy () |  Jasper Jons: he Firs Decade () |  . . . . . | Cronology | Bibliograpy | Index

ILLUSTRATIONS

All works are by Rober Morris unless oerwise noed

.Two Columns,  refabricaion of a  original  .Box wi e Sound of is Own Making,   .Iniial Memory Drawing(//, : P.M.),   .Firs Memory Drawing(//, : P.M.),   .Second Memory Drawing(//, : P.M.),  . hird Memory Drawing(//, : P.M.),  . Four Memory Drawing(//, : P.M.),  . Rober Morris in cosume for is coreograpyWar,   . Rober Morris a work onhreadwase, New York,  .Uniled, Reclamaion Projec (Jonson Pi no. ),   .Uniled (Invered Soulder),   .Uniled,   . Seveneen sained-glass windows, , insalled in e Maguelone Caedral, deail (exerior view)  . Rober Morris wi Melencolia II, . Deail .he Birday Boy,  .ouse and Bombs,   .Sliding Ligs,  .Blind Time IV (Drawing wi Davidson),  .TELEGRAM/TE RATIONED YEARS, . Book wrien by Rober Morris  . Insallaion view ofRober Morris: he Raioned Years,  .Uniled,  . Bull Wall: American Royale,   . Blind Time IV (Drawing wi Davidson),   .Blind Time IV (Drawing wi Davidson),   . Blind Time IV (Drawing wi Davidson),  . Blind Time IV (Drawing wi Davidson),   .Seam, –  . Rober Morris wi Weels, 

.I-Box,  (open view)  .I-Box,  (closed view) . Rober Morris in isUniled (Box for Sanding),  .Sie,  .Mirror,   .Uniled (Rope Piece),  .Uniled (Wedges),  . Second Sudy for a View from a Corner of Orion (Nig),   . Insallaion view ofTar Babies of e New World Order,   . Waer Wase,  .Cairs,  . Seveneen sained-glass windows, , insalled in e Maguelone Caedral, deail (exerior view)  . Presbyery in e Prao Caedral,   . Lianies,  .Saemen of Eseic Widrawal,  . Insallaion view ofRober Morris: he Mind/Body Problem,   Let:Uniled (Pine Poral),  refabricaion of a  original  Rig:Uniled (Pine Poral wi Mirrors),  refabricaion of a  original  .earing,  . Manuscrip drawing forVoice,  .Uniled,  (poser forVoice)  . Uniled (Porland Mirrors),   .Blind Time I,   . Blind Time III,  .Blind Time V: Melancolia,   . Blind Time VI: Moral Blinds,   . Insallaion view ofRober Morris: Blind Time Drawings,   . Uniled (hree L-Beams), -  . Top:Uniled (Corner Beam),   Boom: Uniled (Baered Cubes),   .Uniled (hreadwase),   . ouse of e Vei II,  .Meered Bulb,   . he Fallen and e Saved ,   .Brain,  .Faers and Sons, /

I L L U S T R AT I O N S

.Open Cener Sculpure,   .Observaory,   .Observaory,   . Insallaion view ofRober Morris: he Mind/Body Problem,   .Uniled (Corner Piece),   .Uniled (Ring wi Lig), - .Card File,   .Uniled (Leave Key on ook),   . Insallaion view of Rober Morris: Work from -,   . orde/ oard/ Wored,   .Uniled (Caenary),   . Insallaion view ofRober Morris: he Mind/Body Problem,  .Uniled (olocaus),   .Uniled (Invesigaionsseries),   .Uniled (Piladelpia Labyrin),  .Canvas Back / Fire,  . Insallaion view of Rober Morris’s one-man exibiion a e Green Gallery, New York, December –January   .Blind Time IV (Drawing wi Davidson),   . Paul Cézanne,Mon Saine-Vicoire Seen from Les Lauves, – .Based on a Secion from Mon Sain-Vicoire Seen from Les Lauves –,Cézanne,  . Anselm Kiefer,Breaking of e Vessels, – . Frank Gery, Guggeneim Museum, Bilbao, Spain,   . Rober Morris sanding inside isPassageway,   .Uniled (Gori Labyrin),   . Labyrin,   . Wie Nigs,  .Uniled (Labyrin),  .Finc College Projec,   . Finc College Projec,  remake of a  original . Marcel Ducamp, he Bride Sripped Bare by er Bacelors, Even (he Large Glass), –  . Gusave Courbe, he Origin of e World,  . Marcel Ducamp,Ean donnés(exerior view of doors), –  . Marcel Ducamp, Ean donnés(inerior view) . egel’s Owl, . Deail (exerior view) .egel’s Owl, . Deail (inerior view) 

I L L U S T R AT I O N S

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