Robert Morris

---

Fallecimiento

---

Exposiciones colectivas vigentes
Mapa y paisaje. 25 visiones sobre la superficie de la tierra

---

Profesionales que le han comisariado
Joâo Fernandes en: Robert Morris: filmes e vídeos/corpoespaço movimentocoisas, 2011
Ryan Roa en: Robert Morris: filmes e vídeos/corpoespaço movimentocoisas, 2011

---

Premios ganados
XII Premio Julio González 2011

---

Organizaciones con obra

---

Profesionales con obra

---

Etiquetas
Aluminio  Arte conceptual  Dibujo  Escultura  Madera  Minimalismo  Pintura  Video  Video arte 

---

Descripción del Artista

Born in Kansas City, Missouri, in 1931, Morris studied painting at the Kansas City Art Institute before serving in the Army Corps of Engineers. He then went on to study philosophy at Reed College in the early 1950s. In 1959, Morris moved to New York City with his then-wife Simone Forti, who would become one of contemporary dance’s most innovative figures and with whom he participated in the Judson Dance Theater. He swiftly rose to fame after exhibitions at Green Gallery in 1963 and 1964 that featured humble geometric forms, such as gray plywood cubes and beams that upended viewers’ presumptions about art and caught the attention of fellow Minimalist artist and critic Donald Judd. In 1964 he became a professor of art at Hunter College, where he stayed for three decades. In 1966—the same year he partook in the Jewish Museum’s watershed “Primary Structures” exhibition, curated by Kynaston McShine—Morris published a series of provocative essays in Artforum titled “Notes on Sculpture” in which he contextualized Minimalist art as being dependent on the context of its creation. Beginning in the late ’60s, Morris continued to trouble art’s possibilities through the post-Minimalism movement, which he championed in his Artforum essays “Anti-Form” (1969) and “Notes on Sculpture, Part IV: Beyond Objects” (1969). His oeuvre encompassed myriad forms and materials; Morris worked with aluminum, wood, mirrors, video, the human body, rags, felt, and earth—the latter most notably in Observatory, 1977, in Holland. During the 1980s, he swiveled to figurative painting with works that addressed nuclear anxiety.

---

---

---