Untitled 1976

Editor: This intriguing mixed-media piece is an "Untitled" work by Robert Morris, created in 1976. The dark material and folded geometric shapes give it a very austere, almost somber, quality. How do you interpret this work, considering Morris' broader artistic practice? Curator: Morris' work consistently challenges our perception of form and space. Looking at the material—probably felt—and the process of folding, we need to consider how it resists traditional sculptural form. It highlights the labor involved: the cutting, folding, and hanging. This act itself, this manipulation of the felt, is as important as any representational meaning. Editor: So, it’s less about what it represents and more about how it was made and the material itself? Curator: Exactly. Consider also that Morris emerged from a minimalist context that was incredibly rigorous, formal and often relied on industrial means. His turn toward felt, and seemingly haphazard arrangements, brings in an element of the body, and implicitly the labor that makes art happen. Editor: I see, it brings attention to the hand of the artist, or craftsperson, almost. It also raises questions about industrial versus handmade. How does this fit within the broader art world in the 1970s? Curator: The 1970s witnessed a growing interest in process-based art, performance, and questioning established art hierarchies. Works like this offered a critique of mass production, challenging the clean lines of manufactured objects. It brings our attention back to how things are made and consumed, prompting us to rethink our relationship with materiality. Editor: I hadn't thought about the element of consumption before. It is fascinating how simply changing the material changes the message. Thanks for sharing your perspective! Curator: Of course! Analyzing the material and means of production allows us a far deeper understanding of the work’s cultural and societal significance.