ROBERT MORRIS
1931, Kansas City, Missouri - Lives and works in New York
| ARTISTS BOOKS AND MULTIPLES | ||
| Continuous Project Altered Daily [from Artists and Photographs Box] | Multiples, Inc | 1970 |
| Los Angeles Project | Aspen Magazine # 8 | 1970-1 |
| BOOKS BY OR ABOUT MORRIS | ||
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| Continuous Project Altered Daily: The Writings of Robert Morris | The MIT Press | 1993 |
| Labyrinths: Robert Morris, Minimalism, and the 1960s | Harper & Row | 1989 |
| EPHEMERA / POSTERS | ||
 
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| Black and White Felts (poster) | Castelli Gallery, New York | 1976 |
| Labyrinths - Voice - Blind Time (poster) | Castelli - Sonnabend, New York | 1974 |
| Robert Morris (poster) | Castelli Gallery, New York | 1967 |
| Robert Morris: Fiberglass Felt / Aluminum Cold Rolled Steel / Aluminum | Castelli Gallery, New York | 1968 |
| Robert Morris - Sculpture (poster on transparent paper) | Dwan Gallery, Los Angles | 1966 |
| FILMS | ||
| Site (1964) [inclided in Aspen 5+6] (excerpt) | Aspen Magazine | 1967 |
| ARTICLES AND INTERVIEWS | ||
| Aligned with Nazca (article by) | Artforum - October | 1975 |
| Anti Form | Artforum, April | 1968 |
| Notes on Dance | Happenings and Other Acts | 1995 |
| Notes on Sculpture Part 4: Beyond Objects | Artforum, April | 1969 |
| The Artist Speaks: Robert Morris (interview) | Art in America, May-June | 1970 |
| INDIVIDUAL CATALOGUES | ||
| Robert Morris | Whitney Museum | 1970 |
| Robert Morris | Tate Gallery | 1971 |
| Robert Morris | Samuel Dorsky Museum of Art, New Paltz | 2001 |
| Robert Morris / Projects | ICA, University of Pennsylvania | 1974 |
| Robert Morris [Perspectives on the Permanent Collection] | Virginia Museum of Fine Arts | 1991 |
| OTHER PUBLICATIONS | ||
| Dokumente zur Aktuellen Kunst 1967 -1970 [materials from the archives of Harald Szeemann] | Kunstkreis AG Luzern | 1972 |
| SELECTED CATALOGUES INCLUDING MORRIS | ||
| A Different War: Vietnam in Art | Independent Curators Incorporated, New York [traveled] | 1990 |
| A Forest of Signs: Art in the Crisis of Representation [not in exhibition but mentioned in catalogue essay by Anne Rorimer: Photography - Language - Context: Prellude to the 1980s] | The Museum of Contemporary Art, Los Angeles | 1989 |
| Afterimage: Drawing Through Process | The Museum of Contemporary Art, Los Angeles | 1999 |
| Air Art | Arts Council YM/YWHA, Philadelphia | 1968 |
| A Minimal Future? Art as Object 1958-1968 | The Museum of Contemporary Art, L.A. | 2004 |
| Anti-Illusion: Procedures/Materials | Whitney Museum | 1969 |
| Archive Fever: Uses of the Document in Contemporary Art | International Center for Photography, New York | 2008 |
| Art by Telephone | Museum of Contemporary Art, Chicago | 1969 |
| A View of a Decade 1967-1977 | Museum of Contemporary Art, Chicago | 1977 |
| Beyond Geometry: Experiments in Form, 1940s-1970s | Los Angeles County Museum of Art | 2004 |
| Blam! The Explosion of Pop, Minimalism and Performance 1958-1964 | Whitney Museum of American Art | 1984 |
| Committed to Print: Social and Political Themes in Recent American Printed Art | The Museum of Modern Art, New York | 1988 |
| Compassion and Protest: Recent Social and Political Art from the Eli Broad Family Foundation Collection | San Jose Art Museum | 1991 |
| Content: A Contemporary Focus 1974-1984 | Hirshhorn Museum and Sculpture Garden | 1984 |
| Diagrams & Drawings | Rijksmuseum Kroller-Muller, Otterlo | 1972 |
| Disarming Images: Art for Nuclear Disarmament | The Art Museum Association of America | 1984 |
| Documenta 6 [curator: Manfred Schneckenburger] | Kassel, Germany | 1977 |
| Documenta 8 [curator: Manfred Schneckenburger] | Kassel | 1987 |
| Earth | Andrew Dickson White | 1969 |
| Earth Works (no catalogue, anouncement card written in sand) | Virginia Dawn Gallery | 1968 |
| Filmdance 1890's - 1983 | The Public Theater, New York | 1983 |
| 557,087 | Seattle | 1969 |
| 14 Sculptors: The Industrial Edge | Walker Art Center, Minneapolis, Minnesota | 1969 |
| Function of Drawing | Rijksmuseum Kroller-Muller, Otterlo | 1975 |
| Guggenheim International | Guggenheim Museum | 1971 |
| Information | MoMA, New York | 1970 |
| Into the Light: The Projected Image in American Art 1964-1977 | Whitney Museum | 2001 |
| I Promise It's Political: Perfomativity in Art | Museum Ludwig, Koln | 2002 |
| Joseph Kosuth / Robert Morris | Bradford Junior College | 1969 |
| La Biennale di Venezia 1976 - From Nature to Art, from Art to Nature - The Entropy of Art | Venice | 1976 |
| la Biennale di Venezia 45: Punti dell'arte | Venice, various locations | 1993 |
| la Biennale di Venezia 46: Identity and Alterity: Figures of the Body 1895-1995 [Jean Clair] | Venice, various locations | 1995 |
| Land Marks: New site proposals by twenty-two original pioneers of environmental art | Bard College Center | 1984 |
| Memento Mori | Moore College of Art, Philadelphia | 1985 |
| 995,000 | Vancouver | 1970 |
| 1967: At the Crossroads | Institute of Contemporary Art, Philadelphia | 1987 |
| Off Limits: Rutgers University and the Avant-Garde, 1957-1963 [mentioned in text - not in exhibition] | The Newark Museum | 1999 |
| One Month: March 1969 | Seth Siegelaub | 1969 |
| Op Losse Schtoeven (Square Peg in Round Holes) | Stedelijk Museum | 1969 |
| Out of Actions: Between Performance and the Object 1949-1979 | L.A. Museum of Contemporary Art | 1998 |
| Power: Its Myths and Mores in American Art 1961-1991 | Indianapolis Museum of Art | 1991 |
| Primary Structures: Younger American and British Sculptors | The Jewish Museum, New York | 1966 |
| Probing The Earth: Contemporary Land Projects | Hirshhorn Museum | 1977 |
| Reel Work: Artists' Film and Video of the 1970s | Museum of Contemporary Art, Miami | 1996 |
| Schemes: A Decade of Installation Drawings | Elise Meyer Inc | 1981 |
| Sculpture Since the Sixties: from the Permanent Collection of the Whitney Museum of American Art | Whitney Museum of American Art at Equitqble Center | 1989 |
| Singular Forms (Sometimes Repeated): Art from 1951 to the Present | Solomon R. Guggenheim Museum | 2004 |
| '60 - '80: Attitudes / Concepts / Images | Stedelijk Museum, Amsterdam | 1982 |
| Sonsbeek 71 | Park Sonsbeek, Arnhem | 1971 |
| Structures for Behavior | Art Gallery of Ontario | 1978 |
| Spaces | MoMA, NY | 1970 |
| 10 | Dwan Gallery | 1966 |
| The Art of the Real: USA 18948-1968 | The Museum of Modern Art | 1968 |
| The End of the World:Contemporary Visions of the Apocalypse [Curator: Lynn Gumpert] | The New Museum of Contemporary Art, New York | 1983 |
| The Last Picture Show | The Walker Art Center | 2003 |
| The Political Arm | John Weber Gallery / Washington University Gallery of Art | 1991 |
| The Rebounding Surface: A Study of Reflections in the Work of Nineteen Contemporary Artists [curator: Linda Weintraub] | Edith C. Blum Art Institute Avery Center for the Arts, Bard College | 1982 |
| The Xerox Book | Seth Siegelaub / John Wendler | 1968 |
| Urban Encounters: Art Architecture Audience | ICA, University of Pennsylvania | 1980 |
| Video Art | Institute of Contemporary Art, University of Pennyslvania, Philadelphia | 1975 |
| When Attitudes Become Form (Bern and London) | Kunsthalle Bern | 1969 |
| Whitney Museum Sculpture Annual 1970 | Whitney Museum of American Art | 1970 |
| Works for New Spaces | Walker Art Center, Minneapolis | 1971 |
| Worthless (Invaluable) | Moderna galerija Ljubljana | 2000 |
| SELECTED BOOKS INCLUDING MORRIS | ||
| Alternative Art New York 1965-1985 | The Drawing Center / University of Minnesota Press | 2002 |
| Art After Modernism: Rethinking Representation | The New Museum of Contemporary Art | 1984 |
| Art and Life | Praeger | 1971 |
| Art & Technology: A Report on the Art & Technology Program of the Los Angeles County Museum of Art, 1967-1971 | Los Angeles County Museum of Art / The Viking Press | 1971 |
| Art in the Land: A Critical Anthology of Environmental Art | E. P. Dutton | 1983 |
| Art Povera: Earthworks - Impossible Art - Actual Art - Conceptual Art | Praeger | 1969 |
| Changing: Essays in Art Criticism [Lucy Lippard] | E. P. Dutton & Co. | 1971 |
| Conceptual Art | Dutton | 1972 |
| Conceptual Art | Phaidon | 1998 |
| Conceptual Art and the Politics of Publicity | MIT Press | 2003 |
| Earthworks: Art and the Landscape of the Sixties | Boettger, Suzaan | 2002 |
| From Margin to Center: The Spaces of Installation Art | MIT Press | 1999 |
| From the Center: feminist essays on women's art | Dutton | 1976 |
| Great Western Salt Works: essays on the meaning of Post-Formalist art | George Braziller | 1974 |
| Happenings and Other Acts | Routledge | 1995 |
| Idea Art: A Critical Anthology | Dutton | 1973 |
| Jack Goldstein and the CalArts Mafia | Minneola Press | 2003 |
| Minimal Art: A Critical Survey | E.P. Dutton & Co. | 1968 |
| Minimalism: Art and Polemics in the Sixties | Yale University Press | 2001 |
| New Art in the 60s and 70s: Redefining Reality | Thames and Hudson | 2001 |
| 112 Workshop / 112 Greene Street | New York University Press | 1981 |
| One Place After Another: Site-Specific Art and Locational Identity | MIT Press | 2004 |
| Out of the Box: The Reinvention of Art, 1965-1975 | School of Visual Arts | 2000 |
| Overlay: Contemporary Art and the Art of Prehistory | Pantheon | 1983 |
| Performance: Live Art Since 1960 | Harry N. Abrams | 1998 |
| Recording Conceptual Art | Norvell, Patricia | 2001 |
| Six Years: The dematerialization of the art object.... | Praeger | 1973 |
| SoHo: The Rise and Fall of an Artists' Colony | Routledge | 2003 |
| Surface Tension: Prolematics of Site | Errant Bodies Press | 2003 |
| The Context of Art / The Art of Context | Navado Press, Trieste | 2004 |
| The Contingent Object of Contemporary Art | MIT Press | 2003 |
| The New Avant-Garde: Issues for the Art of the Seventies | Praeger | 1972 |
| Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings | University of California Press | 1996 |
| Thinking About Exhibitions | Routledge | 1996 |
| Words To Be Looked At: Language in 1960s Art | MIT Press | 2007 |
| PERIODICALS INCLUDING MORRIS | ||
| Artforum ["Entropy and the New Momuments" by Robert Smithson] | June | 1966 |
| Artforum [Allan Kaprow: "The Shape of the Art Environment" [How anti form is "Anti Form"? - a response to Robert Morris' article of April, 1968] | Summer | 1968 |
| Artforum [Jack Burnham: Systems Esthetics] | September | 1968 |
| Artforum [Earthworks and the New Picturesque] | December | 1968 |
| Artforum [Review of Anti-Illusion: Procedures / Materials] | September | 1969 |
| Art in America [The Emperor's New Bikini by Hilton Kramer] | January-February | 1969 |
| Art in America, [Article: Impossible Art] | May-June | 1969 |
| Art in America [Robert Morris: Prisioner of Modernism by Carter Ratcliff] | October | 1979 |
| Art in America [Report from Italy: Count Panza Divests] | December | 1984 |
| Art International [A Museum of Language in the Vicinity of Art by Robert Smithson] | March | 1968 |
| Art International [Buenos Aires] | April 20 | 1968 |
| Art International [Minimal Art at the Hague] | May 15 | 1968 |
| Art International [Letter from Holland (including: discussion of Square Peg in Round Holes and When Attitudes Become Form] | May 20 | 1969 |
| Art International [New York] | November | 1969 |
| Arts Magazine [Paris] | February | 1970 |
| Aspen No. 5+6 | Fall / Winter | 1967 |
| Aspen Magazine No. 8 | Fall / Winter | 1970-1 |
| Avalanche # 01 | Avalanche | 1970 |
| Avalanche #03 | Avalanche | 1971 |
| Avalanche #08 | Avalanche | 1973 |
| Art-Rite #10 | Art-Rite | 1975 |
| Interfunktionen #06 | Interfunktionen | 1971 |
| New Observations # 35 | New Observations Ltd. | 1985 |
| October # 8 [Sculpture in the Extended Field by Rosalind Krauss] | Spring | 1979 |
| Studio International [New York Commentary] | March | 1970 |
| EXHIBITION REVIEWS | ||
| Robert Morris at Ileana Sonnabend. Paris | Art International, May 15 | 1968 |
| Robert Morris at Castelli | Artforum, Summer | 1968 |
| Robert Morris at Castelli [see Black and White Felts poster above] and Sonnabend | Artforum, October | 1976 |
| Vito Acconci, Robert Morris, Dennis Oppenheim at Sonnabend | Artforum, Summer | 1980 |