In the late 1960s, Morris began experimenting with what he termed “anti form” sculpture, using materials like ropes, rags, and thin felt, to explore the unusual properties of nontraditional art materials. By 1967, Morris had settled on creating a series using industrial felt—seeing how it behaved when stacked, draped, folded, hung, cut into pieces, or dropped into a tangled heap. The artist stated, “Chance is accepted and indeterminacy is implied since re-placing [the work] will result in another configuration.” Morris was committed to the work’s ability to be presented in different arrangements. However, he noted that once photographed, “nobody wanted to hear about multiple positions.” Therefore, the later felt pieces, such as this hanging wall piece, have a preferred placement.

Robert Morris
American, born 1931
Untitled, 1978
Red felt
Gift of Jean-Christophe Castelli, Nina Castelli Sundell, and Barbara Bertozzi Castelli in honor of Leo Castelli, 2004.15.4

From Our Collection

Waite, 2004 Plimack Mangold, 1977 1891, Harpignies Louis, 1959

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