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Rebecca Morris

Untitled (#261-14), 2014

Watercolor on paper
24 × 18 in
61 × 45.7 cm
Bidding closed
About the work
Aspen Art Museum Benefit Auction

Kindly donated by the artist and Corbett vs. Dempsey, Chicago

Please note: After bidding closes on …

Read more

Kindly donated by the artist and Corbett vs. Dempsey, Chicago

Please note: After bidding closes on Artsy, bids on this piece will be transferred and executed at the silent auction component of ArtCrush on the evening of August 3, 2018.

Medium
Drawing, Collage or other Work on Paper
Image rights
Courtesy the artist and Corbett vs. Dempsey, Chicago
Rebecca Morris
American, b. 1969
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Rebecca Morris paints challenging large-scale abstractions. Known for writing “Abstraction never left, motherfuckers” in a 2004 painting manifesto when abstraction was out of favor in the art world, Morris has developed an unconventional, post-Bauhaus visual language that suggests new directions for abstract painting. Her canvases teem with unusual, seemingly disconnected shapes, each rendered in a different technique and floating freely through space. “I want my work to be a dynamic presence, to create visual and physical impact in a space,” Morris said in a 2012 interview. “In general I’ve found that people respond to my work over time, so the highest compliment would be if someone wanted to spend lengthy and repeated time with my work.”

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About the work
Aspen Art Museum Benefit Auction

Kindly donated by the artist and Corbett vs. Dempsey, Chicago

Please note: After bidding closes on …

Read more

Kindly donated by the artist and Corbett vs. Dempsey, Chicago

Please note: After bidding closes on Artsy, bids on this piece will be transferred and executed at the silent auction component of ArtCrush on the evening of August 3, 2018.

Medium
Drawing, Collage or other Work on Paper
Image rights
Courtesy the artist and Corbett vs. Dempsey, Chicago
Rebecca Morris
American, b. 1969
Follow

Rebecca Morris paints challenging large-scale abstractions. Known for writing “Abstraction never left, motherfuckers” in a 2004 painting manifesto when abstraction was out of favor in the art world, Morris has developed an unconventional, post-Bauhaus visual language that suggests new directions for abstract painting. Her canvases teem with unusual, seemingly disconnected shapes, each rendered in a different technique and floating freely through space. “I want my work to be a dynamic presence, to create visual and physical impact in a space,” Morris said in a 2012 interview. “In general I’ve found that people respond to my work over time, so the highest compliment would be if someone wanted to spend lengthy and repeated time with my work.”

Rebecca Morris

Untitled (#261-14), 2014

Watercolor on paper
24 × 18 in
61 × 45.7 cm
Bidding closed
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