Untitled
Robert Morris, American, born 1931
Date:
1968Medium:
FeltDimensions:
68 inches × 6 feet × 26 inches (172.7 × 182.9 × 66 cm)Copyright:
© Robert Morris / Artists Rights Society (ARS), New York Curatorial Department:
Contemporary ArtObject Location:
1991-65-1a--iCredit Line:
Purchased with funds contributed by Henry S. McNeil, Jr., and with the Joseph E. Temple Fund, the Margaretta S. Hinchman Fund, and the Edgar Viguers Seeler Fund, 1991
1968Medium:
FeltDimensions:
68 inches × 6 feet × 26 inches (172.7 × 182.9 × 66 cm)Copyright:
© Robert Morris / Artists Rights Society (ARS), New York Curatorial Department:
Contemporary ArtObject Location:
Currently not on view
Accession Number:1991-65-1a--iCredit Line:
Purchased with funds contributed by Henry S. McNeil, Jr., and with the Joseph E. Temple Fund, the Margaretta S. Hinchman Fund, and the Edgar Viguers Seeler Fund, 1991
Label:
In 1967 Robert Morris began producing felt sculptures, a radical departure from his prior work, which had secured his reputation as a forerunner of the Minimalist movement. Morris's felts are emblematic of a practice that sought to make the methods of art production its subject matter and to establish a direct relationship between the physical nature of the materials and the sculptural form. Morris chose industrial felt for its heft and soft tactile quality, which acquiesces to gravity unlike traditional sculptural materials. Because of its response to such forces, and its skinlike quality, Untitled makes subtle reference to the human body.
In 1967 Robert Morris began producing felt sculptures, a radical departure from his prior work, which had secured his reputation as a forerunner of the Minimalist movement. Morris's felts are emblematic of a practice that sought to make the methods of art production its subject matter and to establish a direct relationship between the physical nature of the materials and the sculptural form. Morris chose industrial felt for its heft and soft tactile quality, which acquiesces to gravity unlike traditional sculptural materials. Because of its response to such forces, and its skinlike quality, Untitled makes subtle reference to the human body.
