new-york

Robert Morris

Grey Art Gallery

This exhibition of Robert Morris’ felt works—the earliest dating to the late ’60s, the most recent to 1983—constitutes a truly major exhibition. Felt has come to be regarded as Morris’ signature material, for it recurs somewhat regularly in his oeuvre. In general, Morris’ work has been over-intellectualized and underemotionalized. The catalogue essays accompanying the exhibition do little to change the situation, although curator Pepe Karmel acknowledges that the works’ “seductive curves. . . . evoke the presence and motion of the human body.” He describes the work House of the Vetti, 1983, as “a central slit enclosed by narrow labial folds of pink felt . . . surrounded by larger areas of gray (or gray and black) felt,” with the whole structure projected into the room “by the distinctly phallic element of the steel pipe.”

Similarly, the various untitled works of the ’70s usually fold around

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the September 1989 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.