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  Labyrinths : Robert Morris, minimalism, and the 1960s

Berger, Maurice
Language : EnglishNew York : Harper & Row, 1989175 orrialde : zuri-beltzeko argazkiak ; 23 cm(Ikus) Testua: bitartekorik gabeSeries : Icon editions (Harper & Row)ISBN : 0-06-430384-5.Sculpture | Robert Morris (Wikipedia eu) | (Wikipedia en) List(s) this item appears in: Aukeraketa: Robert Morris
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Arteleku 4 MORRIS lab (Browse shelf) Available 646673

Liburuan:
This book, the first full-length study of the major Minimalist sculptor Robert Morris, examines the complex relationship between Morris's early work and the social and intelectual setting of the 1960s. Robert Morris's production has been far more diverse than that of most of his contemporaries. His art includes Abstract Expressionist paintings, Duchamp-inspired objects, dances and performances, Minimalist sculptures, large-scale installations and sound environments, earth and land reclamation projects, films and video works, and political actions. The intellectual sources of Morris's art (he was a philosophy major at Reed College in the late 1950s) are equally broad and include Herbert Marcuse, Maurice Merleau-Ponty, Michel Foucault, Jean Piaget, Ludwig Wittgenstein, Charles Sanders Peirce, and R.D. Laing. As an artist, writer, political protester, and choreographer, Morris sharply questioned the pretensions and expectations of formalist art and culture.
Including his earliest works of the late 1950s to his projects of the mid-1970s, this study provides an understanding of the shifting role of the artist and of art during a period of major social and cultural change. Morris appealed to artists and their patrons to broaden the audience for advanced art. The work and ideas of Robert Morris aggressively challenged the established hierarchies of art as he pushed his own work toward revolutionary ends.
From his deliberate allusion to Manet's "Olynpia" in his dance piece "Site" (1963) to his electrified interrogation room in "Hearing" (1972), Morris examines the workings of the industrial social order one hundred years after Manet. And like Manet's desire to confront the spectator with the debased reality of the new Paris, Morris's art functions ideologically as it attempts to re-create the decentering conditions of late-industrial society- the space of labor, commerce, asd production- in an effort to engender in the spectator a sense of uncertainty and resistance.

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