Sarah Morris, ‘William Morris (Los Angeles)’, 2005, Phillips
Save
Save
View
View in room
Share
Share

Sarah Morris

William Morris (Los Angeles), 2005

Screenprint in colours, on Somerset paper, the full sheet.
38 1/5 × 38 1/5 in
97 × 97 cm
Bidding closed
About the work
Bibliography
P
Phillips

Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

S. …

Medium
Signature
Signed with initials in pencil on the reverse (an unnumbered proof aside from the edition of 55 and 12 artist's proofs), published by …
Sarah Morris
American, b. 1967
Follow

Since the mid-1990s, artist Sarah Morris has produced a large body of work using both painting and film, which create a new language of place and politics.

Morris’ paintings and films contain elements that complement and connect to one another, generating a constant back-and-forth play between the two. In her paintings, she uses colors and geometries that she associates with a city’s unique aesthetic vocabulary and palette, as well as its character and multiple histories. Within the framework, Morris’ work plays with social and bureaucratic typologies to implicate obstructive systems of control. In her films President Bill Clinton, Chase Bank, Philip Johnson, Robert Towne, the film industry, poster design, the Olympics, the banking system, Oscar Niemeyer, J.G. Ballard, perfume, lunar cycles, pharmaceutical packaging, birdcages and even fruit are all fair game.

In writer Bettina Funcke’s words: “She wants to be both author and protagonist, and to her that means using compromised personalities and places as portals into entanglements of power, generating a sense of dizzying simultaneity that she translates into motives and resources for her paintings and a flow of images for her films, all of which add up to topologies of a moment in the life of power and style.”

— Submitted by the artist’s studio

Sarah Morris, ‘William Morris (Los Angeles)’, 2005, Phillips
Save
Save
View
View in room
Share
Share
About the work
Bibliography
P
Phillips

Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

S. 97 x 97 cm (38 1/4 x 38 1/4 in.)

Medium
Signature
Signed with initials in pencil on the reverse (an unnumbered proof aside from the edition of 55 and 12 artist's proofs), published by …
Sarah Morris
American, b. 1967
Follow

Since the mid-1990s, artist Sarah Morris has produced a large body of work using both painting and film, which create a new language of place and politics.

Morris’ paintings and films contain elements that complement and connect to one another, generating a constant back-and-forth play between the two. In her paintings, she uses colors and geometries that she associates with a city’s unique aesthetic vocabulary and palette, as well as its character and multiple histories. Within the framework, Morris’ work plays with social and bureaucratic typologies to implicate obstructive systems of control. In her films President Bill Clinton, Chase Bank, Philip Johnson, Robert Towne, the film industry, poster design, the Olympics, the banking system, Oscar Niemeyer, J.G. Ballard, perfume, lunar cycles, pharmaceutical packaging, birdcages and even fruit are all fair game.

In writer Bettina Funcke’s words: “She wants to be both author and protagonist, and to her that means using compromised personalities and places as portals into entanglements of power, generating a sense of dizzying simultaneity that she translates into motives and resources for her paintings and a flow of images for her films, all of which add up to topologies of a moment in the life of power and style.”

— Submitted by the artist’s studio

Sarah Morris

William Morris (Los Angeles), 2005

Screenprint in colours, on Somerset paper, the full sheet.
38 1/5 × 38 1/5 in
97 × 97 cm
Bidding closed
Other works by Sarah Morris
Related works
Most Similar