PRINT December 1973

Ree Morton: At the Still Point of the Turning World

SHE LIKES RAYMOND ROUSSEL’S Impressions of Africa because “the mental pictures are always changing; you can’t make them concrete. There’s no frame of reference, no story line or location.” Her own work offers a private sign language which engenders a private space partly constructed from memory, which accounts for the flavor of dislocation. I first saw Ree Morton’s work in the 1970-71 Whitney Annual. It didn’t look like everything else—a wood and screen “manger” with twigs and branches in and beneath it. She still works with containers and enclosures, but after the neatly constructed screened racks, the object status became more ambiguous and, at the same time, innocent, obsessive, repetitive. Bundles of branches, cut logs, used more loosely, led her later in 1971 into a curious area between painting and sculpture, between welcoming “environment” and a closed, pictorial space.

Morton uses

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