los-angeles

Ree Morton/“for Ree”

Overduin and Kite/Marc Foxx

In the past five years, Los Angeles has become a privileged site for seeing and thinking about the amazing work of Ree Morton. This is due in no small part to a coterie of younger artists—including Evan Holloway and John Williams—who have channeled her wayward sculptural and installational innovations, and to the revisionary critical research and writing of Kristina Kite. It is both thrilling and fitting that Kite, who was a graduate student when she first undertook her research into the artist, and is now a gallerist, should have been in a position to present one of two great recent Morton shows.

The installation at Overduin and Kite of sculptures, paintings, and drawings from 1973 to1974, a crucial period for Morton, clarified how rapidly the artist’s thinking and making changed. Three drawings made in the summer of ’73 in Newfoundland, which Morton thought of as the happiest

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