reviews

  • Ree Morton, To Each Concrete Man, 1974, wood, canvas, PVC flooring, lightbulbs, electric fixtures, stretched rawhide, colored paper, pencil, paint. Installation view, Generali Foundation, Vienna, 2008.

    Ree Morton, To Each Concrete Man, 1974, wood, canvas, PVC flooring, lightbulbs, electric fixtures, stretched rawhide, colored paper, pencil, paint. Installation view, Generali Foundation, Vienna, 2008.

    Ree Morton

    Generali Foundation

    ONE OF THE EARLIEST WORKS in the Generali Foundation’s “Ree Morton: The Deities Must Be Made to Laugh: Works 1971–1977”—the first major institutional survey of the artist’s oeuvre in almost thirty years—was Untitled, 1971–73, a humble-looking assemblage consisting of pastel-painted wooden branches arranged in a kind of post-and-lintel structure. In the composition, a drawing on canvas has been stretched across the segment of wall defined by this structure, and on it, the Y shape of the weight-bearing vertical branches is repeated twice. Though certainly unassuming, Untitled was a

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