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Robert MorrisRobert Morris - Hand Signed European Poster - iconic famous art historical image1995
1995
$7,500
£5,734.20
€6,569.90
CA$10,578.80
A$11,517.62
CHF 6,150.04
MX$139,035.69
NOK 77,317.02
SEK 71,913.83
DKK 49,073.99
About the Item
Robert Morris (1931-2018)
The Mind/Body Problem (Hand signed and dated), 1995
Offset lithograph
33 × 23 1/2 inches 83.8 × 59.7 cm
Edition of 250 (this is a uniquely hand signed print, aside from the regular unsigned edition)
Signed and dated '97 in black marker by Robert Morris; unnumbered
Unframed
Published by Deichtorhallen, Hamburg, Germany
This work was acquired from the estate of artist and noted art collector Rick Collar. This limited edition hand signed offset lithograph, published on the occasion of a 1995 German museum exhibition, reprises Robert Morris' historic and controversial advertisement for his New York Castelli-Sonnabend exhibition from April 6-27, 1974. According to Wikiart, the original poster was part of Robert Morris' "continuing dialogue with the artist Lynda Benglis, with whom he had previously collaborated on film projects. In the ad, featured in Artforum magazine, Morris is seen from the waist up, flexing his muscles and outfitted only in S
M gear: a German Army helmet, aviator sunglasses, steel chains, and a spiked collar. While striking in itself, Morris's hypermasculine self-portrait is important for prompting an image that gave rise to a huge controversy on the pages of Artforum: a centerfold ad in that same magazine featuring a photograph of Benglis, naked but for a pair of sunglasses, a diamond earring, and sporting an enormous dildo. While Morris's image barely raised an eyebrow, "the Benglis ad" was met with an angry uproar that dramatically illustrated the sexual double standard. Interestingly, one of the loudest voices of condemnation against was the art critic Rosalind Krauss, who had actually photographed Morris for the Castelli-Sonnabend poster; along with other editors of Artforum, Krauss called the ad "an object of extreme vulgarity" that succeeded in "brutalizing ourselves and, we think, our readers."..."
Robert Morris Biography
Robert Morris (1931–2018) was one of the most influential figures in postwar American art. His extraordinarily versatile practice encompassed dance performance, minimalist sculpture, earthworks, drawing, painting, film, photography, collage, readymades and theoretical essays. Primarily based in New York City, the artist explored in his oeuvre the perception of objects, and how viewers renegotiate their sense of space when confronted by one of his works. Throughout his long career, he grappled with the conditions of artistic display and production and the dynamics of theoretical and social discourse.
Morris began his career in the 1950s as a painter of gestural, Abstract Expressionist-style paintings. His growing dissatisfaction with the limitations of the medium and the movement culminated in a systematic expansion of his artistic practice in the early 1960s. The artist’s earliest conceptual sculptures playfully blur fixed boundaries between subject and object. Box with the Sound of Its Own Making (1961), for instance, consists of a handmade, skull-sized, walnut wood box that contains a sound recording of hammering, sawing and drilling noises from the construction of the box itself. It was during that same period that Morris also developed a series of choreographic dance performances including War (1963), 21.3 (1964) and Waterman Switch (1965), which the artist performed with the Judson Dance Theater alongside such artists as Yvonne Rainer, Carolee Schneemann and Lucinda Childs. These performances fundamentally informed his thinking about art and the physical and aesthetic experiences of the self that it mediates.
The sculptural, minimalist objects Morris developed in those same years are radically charged with performativity. Works including Three L-Beams (1965), Mirrored Cubes (1965) or Ring with Light (1965/66) deliberately enact specific moments of perceptual confusion, soliciting from the viewer a range of different “I” positions and a constant re-adjustment of their sensory experience. Morris would intensify this quality in later work by making greater use of such flexible, changeable materials as plywood, steel wire mesh and felt. The felt sculptures he made from the late 1960s onward balance on the threshold between form and anti-form. Gravity determines the shape this malleable material will ultimately take. The metal grommets used to attach these sculptures to the wall are a visible part of the work and represent a departure from the Minimalist insistence on the autonomous aura of the art object.
The 1970s, 1980s and 1990s saw a further, often unexpected expansion of the artist’s practice: Morris experimented with a range of media including photography and film, created such provocative collages as Voice (1974), earthworks including The Observatory (1977), the drawings in his Firestorm series (1982) among others, along with wall reliefs like The Martyr (1986) employing such materials as lead, acrylic, and fiberglass. This also marked the first time he explicitly addressed such social and political topics as the growing technologization of everyday life, the nuclear threat, and later US-led wars in the Persian Gulf region.
Robert Morris resolutely defied conventional art-historical classifications and movements as few artists did. He considered his artistic practice a single, coherent work, a continuous project and a sustained, philosophical-artistic experiment. His entire oeuvre, regardless of medium, attempts nothing less than the creation of a complex, sometimes paradoxical space—a space that returns to the viewer those same processes of experience and perception that seem so elusive today.
- Creator:Robert Morris (1931)
- Creation Year:1995
- Dimensions:Height: 33 in (83.82 cm)Width: 23.5 in (59.69 cm)
- Medium:
- Movement Style:
- Period:
- Condition:Very good vintage condition; possible gentle handling around edges.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745217045842
Robert Morris
Robert Morris (February 9, 1931 – November 28, 2018) was an American sculptor, conceptual artist and writer. He was regarded as having been one of the most prominent theorists of Minimalism along with Donald Judd, but also made important contributions to the development of performance art, land art, the Process Art movement, and installation art. Morris lived and worked in New York.
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